元王蒙會阮圖 卷
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- 資料識別：
- 故畫001018N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 王蒙
- 主題與關鍵字：
- 江河、湖海 高士（士人、隱士） 侍從（侍女、童僕） 松 竹 房舍 樂器 枴杖
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 24.2x94.6公分、隔水一 11.1公分、引首 24.8x66.7公分、隔水二 11.6公分、隔水三 11.5公分、拖尾一 147公分、隔水四 11公分、拖尾二 56.1公分、隔水五 8.2公分、拖尾三 75公分
- 關聯：
- 故宮書畫錄（卷四），第二冊，頁143-147&*故宮書畫圖錄，第十七冊，頁373-378&*王蒙（西元一三○八—一三八五年），吳興人。字叔明，號黃鶴山樵，自稱香光居士。趙孟頫外孫，元四大家之一，畫以王維、董源、巨然為宗，縱逸多姿，善用渴墨寫皴點苔，構圖繁複，無迫塞之感。 重山疊嶂，綿延江岸，高士彈阮竹林茅舍之中，訪者隔江待渡。全幅山石均以解索皴寫之，墨色清潤，筆意簡秀，惟較瑣碎，略少蒼深之勢。&*Wang Meng (style name Shu-ming; sobriquets Huang-ho-shan-ch'iao) was a native of Wu-hsing (modern Huchou, Chekiang), and called himself Hsiang-kuang-chü-shih. The maternal grandson of the famous painter Chao Meng-fu (1254-1322), Wang Meng later became known as one of the Four Yüan Masters. He took the styles of Wang Wei (701-761), Tung Yüan (d.962), and Chü-jan (fl. ca. 960-980) as his teachers, but his brushwork was looser than theirs and revealed a wide range of expression. He excelled at using "dry" ink to render texture strokes and moss dots in dense, complex compositions that nevertheless sacrificed nothing in terms of spaciousness. In this painting can be seen multiple layers of mountains and ridges as well as a river bank stretching into the distance. A scholar is playing an instrument in a thatched hut amidst a forest of bamboo; a visitor waits for the ferry on the other side of the river. The painting is composed of mountain rocks all rendered in Wang Meng's commonly seen "tangled rope" texture stroke method. The ink is pure yet rich and the brushwork simple yet elegant.
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
