清王翬臨范寬雪山圖 軸
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- 資料識別：
- 故畫000950N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 王翬（Wang Hui）
- 主題與關鍵字：
- 行旅 寒林．枯樹 冬景（雪景） 臺閣 溪澗、湍泉
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 清聖祖康熙三十七年（1698）
- 格式：
- 本幅 187.7x115.5公分、全幅 118.3公分
- 關聯：
- 石渠寶笈三編（乾清宮），第二冊，頁584&*故宮書畫錄（卷五），第三冊，頁524&*故宮書畫圖錄，第十冊，頁105-106&* 王翬（西元一六三二－一七一七年），字石谷，號耕煙散人、烏目山人、劍門樵客、清暉主人。少即善畫，繼得王鑑、王時敏指授，並隨之閱覽各地珍藏，藉機臨摹名蹟，因能筆參古今，貌含南北。畫技之精熟為清代第一。 王翬六十七歲「臨范寬雪山蕭寺圖」，結構用筆皆一本原作。其中稍有所增，如幅右遠山，中間忽成兩疊。最右一山，為原畫所無，蓋定稿後所添，非初臨時之原意也。 &* Wang Hui was a native of Ch’ang-shu in Kiangsu province. He was already a capable painter in his youth when he met Wang Chien and Wang Shih-min, who became his teachers. In addition to providing him with through instruction in painting, they also took him to view and copy the works of ancient masters in many great collections. In this way, he was able to absorb the brush techniques of both ancient and modern masters. Because Wang Hui was able to unite the best qualities of the Northern and Southern Schools of painting with his consummate, he became the greatest master of brush technique of the Ch’ing dynasty. Wang Hui produced this copy of Fan K’uan’s “Snow Scene” when he was in his 66th year. The technique and the composition follow the original carefully. A few small additions were obviously introduced as an afterthought and not worked in during the first stage of copying. The small mountain tops which suddenly appear on the extreme right are an example. &*Wang Hui, style name Shih-ku and sobriquet Keng-yen san-jen, was a native of Ch’ang-shu, Kiangsu. In his early years, he studied painting with Wang Chien and Wang Shih-min, but later ceaselessly copied Sung and Yüan dynasty (10th-14th c.) works, eventually finding his own style. This painting was done at the age of 66, serving as example of his study of tradition. Wang grasped the principles of the original composition, arranging the principal part in the central location of the painting, so that the majestic main mountain relies on the energy and momentum of the upward thrust and height. The small winding paths going upward on either side give the viewer a feeling of layer upon layer of silent depth in the mountains.&*王翬（1632－1717），字石谷，號耕煙散人、烏目山人、劍門樵客、清暉主人。少即善畫，後又得王鑑、王時敏指授，並隨之閱覽各地珍藏，藉機臨摹名蹟，因能筆參古今，貌含南北，畫技之精熟為清代第一。 本幅為王翬六十七歲之作，結構、用筆、布局皆一本原作。惟稍有增益，如幅右遠山，中間忽成兩疊。最右一山，為原畫所無，蓋定稿後所添，並非初臨時的原意。 (20110913)&*Wang Hui (style name Shigu; sobriquets Gengyan sanren, Wumu shanren, Jianmen qiaoke, Qinghui zhuren) was already a capable painter in his youth. Later he met Wang Jian and Wang Shimin, who not only taught him but also took him to view and copy famous works in many great collections. In this way, he was able to absorb both ancient and modern brush techniques. Because Wang Hui was able to combine the virtues of the Northern and Southern Schools of painting, he became the greatest master of brush technique in the Qing dynasty. Wang Hui did this work when he was in his 67th year by Chinese reckoning. The structure, brushwork, and composition all follow the original carefully. Only a few small additions were introduced, such as the distant mountains to the right, in the middle suddenly forming two folds. The mountains to the extreme right do not appear in the original and were added as an afterthought, not being worked in during the first stage of copying. (20110913)
- 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
