石渠寶笈續編(重華宮),第三冊,頁1737&*故宮書畫錄(卷五),第三冊,頁545&*故宮書畫圖錄,第十冊,頁325-326&* 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。王時敏之孫,康熙庚戌(一六七0)進士,歷官少司農。故人稱王司農,畫由家學,遠邁時倫,為清四大家之一。 此圖作為六十八歲,左方峭壁長松聳立,勢雖險峻卻與右方的大樹,形成相互平衡的作用。草木華滋的主山,上方山石堆積錯落有致,又不流於細碎。原祁以一排排的石綠、墨色側點,重覆的添加在山石輪廓線上,以代表石面繁密的草木,此手法在其畫上常見,已成固定形式。 &* Wang Yűan-ch’i (style-name Mao-ch’ing; sobriquet Lu-t’ai) was a native of T’ai-ts’ang, Kiangsu Province. The grandson of Wang Shih-min, He received his chin-shih civil service degree in 1670. He went on to become Vice-minister of Revenue and was known as Vice-minister Wang. He closely followed the style of his forebears, and his abilities far surpassed those of his contemporaries, ranking him as one of the Four Masters of the Ch’ing. Completed at the age of 67, this painting is composed of precipitous cliffs and tall pines on one side which are compositionally balanced with large trees on the other. The upper portion of the verdant, grassy central peak is composed of numerous piles of rocks, creating an uneven texture and outline. Wang repeatedly applied layers of malachite green and slanted ink dots to the outlines of the mountains to suggest abundant forests and grass. He often used this technique in his paintings and it became a characteristic feature of his style.