清王原祁倣黃公望秋山圖 軸
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- 資料識別：
- 故畫000746N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 王原祁
- 主題與關鍵字：
- 秋景 瀑布 松 水榭 橋 亭 房舍 石磴、棧道 江河、湖海 楓樹．槭樹 雲
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 清聖祖康熙四十六年（1707）
- 格式：
- 本幅 81.3x50.2公分、全幅 73公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁674&*故宮書畫錄（卷五），第三冊，頁544&*故宮書畫圖錄，第十冊，頁293-294&*王原祁（西元一六四二－一七一五年），江蘇太倉人。時敏孫，字茂京，號麓臺。康熙康戌（一六七０）進士，歷官少司農。畫由家學，遠邁時倫，為清四大家之一。 麓臺仿子久秋山，傳世者頗多，此本寫贈奕友吳來儀。根據幅上款識，王氏平生並未見過黃公望的秋山圖，此圖乃其懸揣之作。全作的筆墨、設色、章法無不精妙，為麓臺精品。本幅作於丁亥（一七０七）秋日，王氏時年六十六歲。&* Wang Yűan-ch’i, a native of Kiangsu province, was the grandson of the painter Wang Shih-min. He served as Vice Minister of Revenue. Wang Yűan-ch’i studied painting in his family and his abilities far surpassed those of his contemporaries, becoming known as one of the Four Masters of the Ch’ing. Wang did many works after autumn landscapes by Huang Kung-wang. He painted this one as a gift for his friend Wu Lai-i. In the inscription, Wang states that he never saw the original by Huang Kung-wang, but his grandfather had often told him about it. Thus, this is based on his grandfather’s description. This work shows Wang at his best, in terms of brushwork, coloring, and composition. It was done in the fall of 1707 at the age of 65. &*1.陳昱全，〈清王原祁倣黃公望秋山圖〉，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351-354。&*王原祁（1642-1715），江蘇太倉人。字茂京，號麓臺，康熙庚戌（1670）進士，歷官少司農。與祖父王時敏、王鑑與王翬合稱「四王」。 山間雲氣繚繞，屋舍錯落，礬頭與平臺點綴其間。近景畫橫向坡岸，上端聳立的樹木將近景串聯至中景斜向堆疊的主山。右半布置大片水域，隨水岸往右後方遠景逐漸延伸，最後與遠山山腰的白雲連成一氣。樹石與山脈對應水域和雲氣，形成兩股虛實相映、交相作用的視覺力量。 (20110609)&*Wang Yuanqi (style name Maojing, sobriquet Lutai) was a native of Taicang, Jiangsu. A Presented Scholar of 1670, he went on to serve as Vice Minister of Revenue. Along with his grandfather Wang Shimin, Wang Jian, and Wang Hui, they were known as ''The Four Wangs.'' Coiling through the mountains are wispy clouds in scenery of scattered buildings dotted with alum heads and outcroppings. The foreground consists of a bank stretching into the water with trees on it extending upwards to connect with the diagonal extension of the main mountain in the middleground. The lower right is composed mostly of water that zigzags back through the valley before finally connecting with the white clouds of the distant mid-slopes. The trees and rocks as well as ridges echo the water and clouds, forming a reciprocal contrast of solid and void that interacts to create a visual force. (20110609)&*王原祁（1642-1715）、江蘇太倉の人。字は茂京、号は麓台。康熙庚戌（1670）進士、少司農を務めた。祖父王時敏、王鑑、王翬とともに「四王」と称された。 雲霧が濃く立ち込める山間に点在する家屋、その間に礬頭（岩石）と平地が見える。近景には岸辺が横向きに描かれ、上端に聳える樹木が近景を中景の斜めに重なる主山に繋いでいる。右半分に広大な川面が置かれ、岸辺に沿って右後方の遠景へと徐々に伸ばされ、最後に遠山山腰の白雲と一繋がりになっている。樹石と山脈が川面と雲霧に対応し、二つの虚実が対照の妙をなしつつ互いに作用する視覚的効果を生み出している。 (20110609)
- 管理權：
- 國立故宮博物院
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- 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
