| 文物統一編號 |
故畫000697N000000000
|
| 作品號 |
故畫00069700000 |
| 品名 |
清王鑑倣倪瓚山水 軸
Landscape in the Style of Ni Tsan |
| 分類 |
繪畫 |
| 作者 |
王鑑 |
| 創作時間 |
清聖祖康熙二年（1663） |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
王鑑
印記 expand_more
|
本幅 |
余見金閶友人家所藏倪高士綠水園。妙有幽微澹遠之致。此幀擬之。愧不能彷彿萬一也。癸卯（1663）冬日王鑑識。 |
行書 |
|
|
|
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
王撰 |
太原伯子岡齡氏賞鑑 |
| 收傳印記 |
沈德潛 |
沈德潛印 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 鑑藏寶璽 |
清內府印 |
宜子孫 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆鑑賞 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
山水 |
|
|
| 其他主題 |
山水 |
江河、湖海 |
江河 |
| 其他主題 |
樹木 |
|
|
| 其他主題 |
樹木 |
竹 |
|
| 其他主題 |
樹木 |
寒林．枯樹 |
枯樹 |
| 類別 |
參考資料 |
| 內容簡介 |
作者王鑑，生在明萬曆二十六（1598）年，死在清康熙十六（1677）年。江蘇太倉人。字圓照，號湘碧，自稱染香庵主，為明代學者王世貞的孫子，作官到廉州知府。善畫山水，又精通畫理。他的畫也是師學元四家，對於臨摹前人作品，有獨到之處。前人批評他是「擅長用筆，用墨濃黑滋潤，又善於著色暈染，所以，山石特別具有厚重的質感」。
他與王時敏、王翬、王原祁，被尊為清初山水四大家，合稱「四王」。
|
| 內容簡介 |
王鑑，江蘇太倉人（1598-1677）字圓照，號湘碧，自稱染香庵主，世貞之孫。仕至廉州知府，精通畫理，山水為清四大家之一。圓照學倪，特饒清韻，本幅自董思白（其昌）上溯倪迂。起首三樹，直是思翁心法，對山石腳，信手橫拖沙嘴，隨意迤邐，益增幽深之趣。此畫成於六十六歲。
|
| Description |
Wang Chien (1598-1677) was a native of T’ai-ts’ang, Kiangsu. His style name was Yuan-chao; his sobriquet was Hsiang-pi. Wang Chieh sometimes referred to himself as Jan-hsiang-an-chu. A grandson of Wang Shih-chen, Wang Chieh was made Prefect of Lien-chou, Kwangtung. He made a thorough study of painting theory, and because of his landscapes, was considered one of the Four Masters of the Ch’ing dynasty.
In studying the work of the Yuan master, Ni Tsan, Wang Chien achieved exceptional purity and harmony. In this painting he is interpreting the style of Ni Tsan through the intermediary of Tung Ch’i-ch’ang of the Ming dynasty. The painting was completed when Wang Chien was sixty-six years old.
|
| Description |
Wang Chien was a native of T’ai-ts’ang in Kiangsu province and the grandson of Wang Shih-chen, a famous scholar of the Ming period. He held official position, serving as the magistrate of Lien-chou, Canton. A particularly skilled painter of landscapes, he was well-versed in the principles of painting. In his paintings he studied the Four Greet Masters of the Yuan, and his copies of the works of the masters of the past posses his own individual contributions. Critics of former times have said that he excelled at using the brush; used ink in a deep and moist manner; was skilled at applying color and color wash; and therefore his mountains and rocks posses a stately and graceful quality. Wang Chien, Wang Shih-min, Wang Hui, and Wang Yuan-ch’i have become venerated as Four Great Landscape Masters of the early Ch’ing, and are known collectively as the “Four Wangs.”
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| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁514
|
| 收藏著錄 |
故宮書畫圖錄，第十冊，頁77-78
|
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