唐王維千岩萬壑 卷
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- 資料識別：
- 故畫001382N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 王維
- 主題與關鍵字：
- 溪澗、湍泉 水榭 迴廊 石磴、棧道 山徑 江河、湖海 瀑布 高士（士人、隱士） 侍從（侍女、童僕） 百姓 寒林．枯樹 松 竹 藤蘿 騾．驢 臺閣 茅草屋 寺廟 亭 橋 欄杆 籬笆、圍牆 帆船 傢俱（屏風） 文玩（琴棋書畫）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 唐玄宗開元二十四年（736）
- 格式：
- 本幅 31.5x705.9公分、隔水一 12公分、隔水二 12公分
- 關聯：
- 故宮書畫錄（卷八），第四冊，頁29&*故宮書畫圖錄，第十五冊，頁53-58&*此長卷畫雲水飛動，山谷郁郁盤盤、江岸連綿千里，臺地、山澗、飛瀑流泉、崖亭水榭、長橋村落等各式景觀，俱現筆端。然通幅之山石樹木，相似造型往往重複出現；用筆雖工整，有提頓轉折之處，卻少變化，欠筆力，偏於平板，當是後人假託王維之作。王維（西元七○一—七六一年），字摩詰，山西祁縣人。以詩名盛於開元、天寶間，書畫特臻其妙。工草隸，尤工畫山水，筆墨宛麗，氣韻高清，畫中極富詩意。&*This handscroll was executed with rapid, dry strokes. Each mountain is intricately ornamented. Realistically rendered landscape elements of all types were incorporated into the composition, including rivers and peaks extending for thousands of miles, mountain streams, cascades, springs, pavilions, bridges, and villages. The forms of the mountains and trees appear in repetitive patterns. Although painted with a careful brush, the work is choppy in places, and there is a dearth of movement and contrast. Furthermore, the weakness of the brushwork and the flatness of the surface plane indicate that this painting was in fact the work of a later artist. This painting has traditionally been attributed to Wang Wei, a native of T'ai-yuan, Shansi. His style name was Mo-chieh. Originally famous as a poet, he later gained reknown as a painter and calligrapher as well. He excelled at the cursive and clerical scripts, and his landscapes were particularly excellent. His brushwork was graceful and refined. He incorporated a poetic spirit into his paintings. &*此長卷畫雲水飛動，山谷鬱鬱盤盤，江岸連綿千里，有臺地、山澗、飛瀑流泉、崖亭水榭、長橋村落等各式景觀。然通幅之山石樹木，相似造型往往重複出現，略顯平板。畫中山脈走勢相連，似有龍脈結組概念，枝葉分佈樹幹兩側的樹法近似董其昌風格，舊傳唐代畫家王維，不過從畫風看，應該是晚明董其昌以後之作品。(20100710)&* This long handscroll depicts roiling clouds and waters with deep, luxuriant valleys and riverbanks that seem to go on forever. Features of the outcrop, ravine, cascade, cliff- and waterside pavilion, and bridge and village scenery have all been fully rendered via the brush tip, but the mountains and trees appear as repetitive forms, making for a slightly static effect. The connected terrain of the central mountain range is similar to the Chinese concept of mountains as dragon veins. Also, the distribution of leaves on either side of the tree trunks is similar to the style of Dong Qichang (1555-1636) but unrelated to the Tang artist Wang Wei. Thus, this is probably an imaginative work in the Wang Wei style from the late Ming dynasty after Dong Qichang.(20100710)
- 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
