清元濟王原祁合作蘭竹 軸
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- 資料識別：
- 故畫000811N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 元濟、王原祁
- 主題與關鍵字：
- 奇石 竹 蘭．蕙 溪澗、湍泉
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 清聖祖康熙三十年（1691）
- 格式：
- 本幅 134.2x57.7公分、全幅 82公分
- 關聯：
- 石渠寶笈初編（養心殿），上冊，頁672&*故宮書畫錄（卷五），第三冊，頁585&*故宮書畫圖錄，第十四冊，頁335-336&*1.本社，〈清元濟王原祁合作蘭竹圖〉，《故宮文物月刊》，第13期（1984年4月），封底裡 。 2.石守謙，〈石濤王原祁合作蘭竹圖的問題〉，《中華民國建國八十年中國藝術文物討論會論文集 書畫(下)》（臺北：國立故宮博物院，1992），頁491-511。 3.〈清 元濟王原祁 合作蘭竹〉，收入譚怡令、劉芳如、林莉娜主編，《滿庭芳 歷代花卉名品特展》（臺北：國立故宮博物院，2010年十二月初版一刷），頁160。 &*元濟即道濟（西元一六四二－一七０七年），廣西桂林人。為明代楚藩後裔，俗名朱若極，字石濤，號大滌子等。王原祁（西元一六四二－一七一五年），江蘇太倉人，字茂京，號麓臺，為清初四王之一。 本幅中，元濟畫蘭竹，行筆灑脫，用墨飽含水份，濃淡相暈，頗有淋漓痛快的感覺，也呈現出了在風中的動態；王原祁亦以寫意筆法補坡石，但相對之下，則顯得較為收斂。&*Yuan-chi, also known as Tao-chi, was a native of Kweilin, Kwangsi. A descendant of the Ming imperial family, he also went by his common name Chu Juo-chi (but is perhaps better known by his style name Shih-t'ao). Wang Yuan-ch'i, a native of T'ai-ch'ang in Kiangsu Province, was one of the Four Wangs of the Early Ch'ing. In this work, Yuan-chi painted the orchids and bamboo. His brushwork was fluid and moist with his ink quite watery. The blurring effect of light and dark gives the work a moist and expressive quality that also echoes the fluidity of these motifs in the wind. Wang added the slope and rocks using the "sketching-ideas" manner. In comparison, though, his style appears more reserved. &*元濟即釋道濟（1642-1707），廣西桂林人，為明代楚藩後裔。俗名朱若極，字石濤，號大滌子。王原祁（1642-1715），字茂京，號麓臺，江蘇太倉人。善畫山水，為清初四王之一。 合作畫向為藝術家相互間藉以敦睦友誼，與切磋技藝的重要手段。本幅中，先由元濟畫蘭竹，運筆灑脫，用墨飽含水份，濃淡相暈，極其淋漓痛快，也呈顯了蘭竹搖曳的風姿。隨後，王原祁再補綴坡石，相形之下，筆致顯得稍許內斂。但收與放之際，益增畫面豐富的興味。(20110102)&* Yuanji refers to the Buddhist monk Daoji, a native of Guilin in Guangxi who was a descendant of the Chu rulers from the Ming imperial clan. His personal name was Zhu Ruoji, and he had the style name Shitao and the sobriquet Dadizi. Wang Yuanqi (style name Maojing, sobriquet Lutai) was a native of Taicang in Jiangsu who excelled at painting landscapes and was one of the Four Wangs of the Early Qing. Cooperative painting is a way for artists to foster friendly relations while not only working with but also learning from each other. In this hanging scroll, Yuanji first painted the bamboo with brushwork that is comparatively free and easy. His ink was saturated with water, the light and dark haloes complementing each other for an effect free of inhibition and without restraint, also expressing the graceful bearing of orchids and bamboo swaying in the breeze. Afterwards, Wang Yuanqi added the slope and rocks. In contrast, he brushwork is slightly more restrained. Nonetheless, the difference between this introspection and outward feeling considerably enriches the character of the work.(20110102)
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- 國立故宮博物院
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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
