清王時敏倣黃公望浮嵐暖翠圖 軸
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- 資料識別：
- 故畫002374N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 王時敏
- 主題與關鍵字：
- 亭 房舍 橋 溪澗、湍泉
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 清聖祖康熙九年（1670）
- 格式：
- 本幅 63.5x29.3公分、全幅 54公分
- 關聯：
- 石渠寶笈續編（乾清宮），第二冊，頁578&*故宮書畫錄（卷八），第四冊，頁91&*故宮書畫圖錄，第十冊，頁23-24&* 王時敏（西元一五九二－一六八０年），江蘇太倉人。字遜之，號煙客，自號西廬老人、西田主人、偶諧道人、歸村老農。性資穎異，淹雅博物，畫為清四大家之一。 王時敏畫，守法甚嚴，著意之作，間或傷於板滯。此幀純用禿筆，皴擦老辣，點樹用中鋒，有跳脫生動之致。益以墨采煥發，燥濕相宜。畫成於庚戌（西元一六七０年）為七十九歲所畫，是暮年得意筆。 &* Wang Shih-min was a native of T’ai-ts’ang, Kiangsu. His style name was Hsün-chih; he was also known as Yen-k’o, Hsi-lu lao-jen, Hsi-t’ien chu-jen, Ou-hsieh tao-jen and Kuei-ts’un lao-nung. Wang Shih-min is regarded as one of the Four Wangs of the Ch’ing dynasty. Wang Shih-min placed special emphasis on the principles of execution. Hence his works are all carefully planned and occasionally, overly precise. In this painting, executed when Wang Shih-min was seventy-nine years old, he displays a particularly lively use of brush and ink. &*1.陳昱全，〈清王時敏倣黃公望浮嵐暖翠圖〉，收入何傳馨主編，《山水合璧：黃公望與富春山居圖特展》（臺北：國立故宮博物院，2011年五月初版一刷），頁341。 &*王時敏（1592-1680），江蘇太倉人。字遜之，號煙客，又號西廬老人、西田主人等。出生書香世家，父親與祖父都曾擔任明朝官職，早年得董其昌教導，繼承董氏文人畫理論，為清初正統派「四王」之一。 此軸山體造型和構圖與早年〈臨黃公望擬董源夏山圖〉相近，但縮短前景水域，亦除去畫面左上的遠景山峰，使主山迫近觀者並強化高聳豎立的氣勢。純以水墨為之，用披麻皴與側筆點苔法，加以乾筆皴擦山體質面，營造畫面清朗秀潤的氣質。 (20110609)&*Wang Shimin (style name Xunzhi; sobriquets Yanke, Xilu laoren, Xitian zhuren, etc.) was a native of Taicang in Jiangsu. Born into a family of scholars, both this father and grandfather served the previous Ming court as officials. And in his early years Wang Shimin came under the instruction of the famous literatus Dong Qichang, following his theories on scholar painting. Wang thereafter became one of the “Four Wangs” of the Orthodox School in the early Qing dynasty. The mountain form and composition of this hanging scroll are similar to Wang Shimin’s “Copying Huang Gongwang’s Imitation of Dong Yuan’s ‘Summer Mountains’” done when younger. However, the foreground water area has been shortened and the distant scenery of mountain peaks on the left side of the composition eliminated, bringing the main mountain closer to the viewer and emphasizing its lofty and majestically towering form. Done completely in monochrome ink, the hemp-fiber texture strokes and slanted-brush moss dots combined with dry brushwork texturing for the mountain forms create a painting with an atmosphere of pure refinement. (20110609)
- 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
