石渠寶笈續編(重華宮),第三冊,頁1681&*故宮書畫錄(卷六),第四冊,頁203&*王振鵬(約活動於西元一二八0-一三二九年),永嘉(浙江溫州)人。字朋梅,受知仁宗,賜號孤雲處士。界畫極工緻,豪分縷析,左右高下,俯仰曲折,方圓平直,曲盡其體,而神氣飛動。 本幅為「藝苑藏真」下冊第十一幅。界畫臺閣人物,頗具生意。幅中無名款,然元人善於界畫者,多出王氏之門,如李容瑾、朱玉、衛明鉉等。是故此幀雖未必為王振鵬所作,然定屬其流派無疑。&*王振鵬(約活動於西元一二八○—一三二九年),永嘉(浙江溫州)人。字朋梅,受知仁宗,賜號孤雲處士。界畫極工緻,豪分縷析,左右高下,俯仰曲折,方圓平直,曲盡其體,而神氣飛動。 本幅為「藝苑藏真」下冊第十一幅。界畫臺閣人物,頗具生意。幅中無名款,然元人善於界畫者,多出王氏之門,如李容瑾、朱玉、衛明鉉等。是故此幀雖未必為王振鵬所作,然定屬其流派無疑。&*Wang Chen-p'eng was a native of Chekiang who enjoyed favor as a court painter under the Mongols. Excelling at "ruled-line" painting, he clearly showed every detail and feature of buildings with great precision and spirit. This is the 11th leaf from the album True Masterpieces of Art. Using a ruler to render the straight lines of the buildings, all the forms here, including the figures, appear very lively. Though bearing no signature, many of the great Yüan paintings done in the ruled-line method were by Wang or his students, such as Li Jung-chin, Chu Yü, and Wei Ming-hsüan. Thus, this work may not necessarily be by Wang, but it certainly belongs to his style of painting.