石渠寶笈續編(御書房),第四冊,頁2088&*故宮書畫錄(卷五),第三冊,頁513-514&*故宮書畫圖錄,第十冊,頁79-80&*1.陳韻如,〈「天子之寶 — 台北國立故宮博物院的收藏」展品系列(四) — 繪畫〉,《故宮文物月刊》,第247期(2003年10月),頁49。 &*王鑑(1598-1677),祖父王世貞是明代後期文學復古運動的領袖。與王時敏同樣擁有淵厚家學,王鑑亦自幼喜好繪畫創作,並也強調仿古,與王時敏並稱為二王。然而王鑑所引用的古代傳統不限於黃公望,對於五代董源、巨然、元代的王蒙風格等,都有著濃厚興趣。在這件臨仿王蒙的作品中,取用王蒙慣用的構圖模式,並且援用許多相似母題,例如在前景的高大松樹,以及後景山頭的起伏造型,甚至筆墨皴線上強調捲曲扭動,也與王蒙筆意相通。此外,畫中部份特質則超乎王蒙風格之外。例如山體的構成更為清晰,筆墨亦顯得更為整順,處處彰顯清代仿古作風特質。(陳韻如)&*王鑑,江蘇太蒼人。明萬曆二十六年(西元一五九八)生,清康熙十六年(西元一六七七)卒。 舊評王鑑畫,以為樹木叢鬱而不繁,丘壑深邃而不碎。氣運得烘染之法,皴擦而無自撰之筆。此幀則仿王蒙,意雖有擬而實出於自運。筆意清奇,墨色雅澹,成於康熙乙巳,時年六十七歲。 &*Wang Chien was a native of T’ai-tsang, Kiangsu. An old criticism of Wang Chien’s painting states that his trees are luxuriant but not overly abundant; his compositions are deep and vast, but not fragmented. This landscape was painted in the style of Wang Meng. Although the idea of the painting was copied, Wang Chien still was able to express himself. The brush spirit is pure and unusual; the color of the ink is elegant and bland. The painting was completed in 1665, when Wang Chien was 67 years old.