| 文物統一編號 |
故畫001211N000000000
|
| 作品號 |
故畫00121100000 |
| 品名 |
清王原祁仿宋元人山水 冊
Album of Landscapes in Sung and Yűan styles |
| 分類 |
繪畫 |
| 作者 |
王原祁 |
| 數量 |
一冊：十七開（本幅十七開十七幅） |
| 作品語文 |
漢文 |
| 位置 |
尺寸(公分) |
| 本幅六 |
43.5x35.2 |
| 本幅九 |
43.5x35.4 |
| 本幅十三 |
43.5x35.4 |
| 本幅十五 |
43.5x35.5 |
| 本幅十 |
43.5x35.6 |
| 本幅十一 |
43.5x35.6 |
| 本幅一 |
43.5x35.7 |
| 本幅七 |
43.5x35.7 |
| 本幅五 |
43.5x35.7 |
| 本幅二 |
43.5x35.8 |
| 本幅三 |
43.5x36.4 |
| 本幅四 |
43.5x36.6 |
| 本幅十七 |
43.5x36.8 |
| 本幅八 |
43.5x36.9 |
| 本幅十二 |
43.5x36.9 |
| 本幅十六 |
43.5x37.1 |
| 本幅十四 |
43.5x37.1 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 簽 |
|
封面 |
|
楷書 |
王原祁倣宋元人山水。 |
| 印記類別 |
印主 |
印記 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清高宗 |
石渠定鑑 |
| 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 |
宣統帝 |
宣統御覽之寶 |
| 鑑藏寶璽 |
宣統帝 |
宣統鑑賞 |
| 鑑藏寶璽 |
清高宗 |
乾清宮鑑藏寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆鑑賞 |
| 鑑藏寶璽 |
宣統帝 |
無逸齋精鑑璽 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
寶笈重編 |
| 類別 |
參考資料 |
| 內容簡介 |
王原祁（1642-1715），江蘇太倉人，王時敏之孫，字茂京，號麓台。中康熙九年進士，歷官至少司農，他的山水畫得自祖傳，學的仍是元代黃公望淺絳山水一派，卻能摻入明末董其昌的理論和技法，建立一種新的形式，畫法有點近似現代石炭素描畫，先用淺墨勾畫輪廓，再用淡墨、穠墨乾筆交互地層層皴擦，然後以焦墨提醒點破。因此，畫面所畫重山複水、叢林村落，近看墨色渾沌一片，但遠加審視，則山石樹屋遠近虛實，頓見層次分明。
|
| Description |
Wang Yűan-ch’i, tzu (style name) Mao-ching and hao (sobriquet) Lu-t’ai, a native of T’ai-ts’ang, Kiangsu, was the grandson of the painter Wang Shih-min. He received the chin-shih degree in 1670 and pursued a career as an official which culminated in his appointment as Deputy Minister of Agriculture. He carried on the family tradition of landscape painting, which in turn was based on the tradition of the Yűan master Huang Kung-wang. This he combined with the theories and techniques of the pivotal late Ming scholar-painter Tung Ch’i-ch’ang to form a new style which was extremely influential during the 18th century. His technique to some degree resembles modern charcoal drawing: he first outlined the major forms with light ink and then textured them with several layers of varying ink tones applied with a dry brush. Finally, he would add highlights and emphasis with dark black ink. Thus when looked at close-up, the forms in his paintings dissolve into unintelligible surface textures but become clear when viewed from a distance, so that the mountains, trees, and buildings are clearly visible and are rendered in accurate relations of distance and scale.
|
| 收藏著錄 |
石渠寶笈續編（乾清宮），第二冊，頁593-594
|
| 收藏著錄 |
故宮書畫錄（卷六），第四冊，頁150-152
|
| 收藏著錄 |
故宮書畫圖錄，第二十四冊，頁166-169
|
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