| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈三編（延春閣），第五冊，頁2164
|
|
收藏著錄 |
故宮書畫錄（卷五），第三冊，頁516
|
|
收藏著錄 |
故宮書畫圖錄，第十冊，頁101-102
|
|
內容簡介（中文） |
王武（西元一六三二至一六九○年），江蘇長洲人。字勤中，號忘庵，自稱雪顛道人。精於鑑賞，家富收藏，於宋元明諸大家名蹟，往往心摹手追，務得其遺法，故所畫花鳥動植物等，任筆宣染，皆具足生意，脫盡院畫習氣。名高當代，時人以之比擬惲壽平。
|
|
內容簡介（英文） |
Wang Wu (style name Ch’in-chung; sobriquet Wang-an) was a native of Ch’ang-chou, Kiangsu. He was a fine connoisseur and possessed a rich collection of art. Wang would often copy the works of the great masters of the Sung, Yűan, and Ming dynasties, gaining mastery of their techniques. Thus, when he painted flowers, birds, animals, and figures, his brush spontaneously infused the subject with great vitality and freed him from the cliches of the academic style. He was widely known by contemporaries and was often compared with Yűn Shou-p’ing.
|
|
內容簡介（中文） |
王武（西元一六三二－一六九O年），江蘇長洲人。字勤中，號忘庵，自稱雪顛道人。明代名士王鏊六世孫，家富收藏，精鑑賞，於宋元明諸大家名蹟，往往心摹手追，務得其遺法，故所畫花鳥動植物等，任筆渲染，皆具足生意，脫盡院畫習氣。
此幅帶有明代水墨花卉大家陳淳遺風，極其清雅。
|
|
內容簡介（英文） |
Wang Wu, a native of Ch’ang-chou (Soochow) in Kiangsu, went by the style name Ch’in-chung, the sobriquet Wang-an, and the self-styled name Hsueh-tien tao-jen. The sixth generation descendant of the famous Ming scholar Wang Ao, his family possessed a large art collection. With a keen eye, he often focused on copying authentic works of masters from the Sung, Yuan, and Ming dynasties and acquired their methods. That is why the flora and fauna of his paintings are so lifelike in both brushwork and color washes, making them far removed from the academy painting style. This work retains traces of the monochrome ink style of the flower painting master Ch’en Ch’un (1483-1544) of the Ming dynasty, making it quite pure and elegant.
|
|
內容簡介（中文） |
王武（西元一六三二至一六九○年），江蘇長洲人。字勤中，號忘庵，自稱雪顛道人。精鑑賞，見宋元明名蹟，往往心摹手追，務得其遺法，故所繪花卉禽鳥，皆筆墨清雅而生意俱足，脫盡院畫習氣，時人以之比擬惲壽平。
本幅作於康熙乙丑（一六八五年），時王武五十四歲。寫仲夏湖濱景致，鸜鵒棲於楊柳枝梢，湖石周遭，另有榴花、蜀葵、萱花相傍叢生，掩映成趣。
(20121016)
|
|
內容簡介（英文） |
Wang Wu (style name Qinzhong, sobriquet Wang’an, self-styled name Xuedian daoren), a native of Changzhou, Jiangsu, was skilled in connoisseurship. When he saw a masterpiece of the Song, Yuan, or Ming dynasty, he would commit it to memory, thus acquiring its methods. This is why his bird-and-flower paintings all have a combination of pure elegance in brush and ink along with liveliness, avoiding the pitfalls of the academic style. People at the time compared him to the contemporary master Yun Shouping. This work, done in 1685 at the Chinese age of 54, depicts a lakeshore scene in summer with a mynah perched on a willow branch. The lake rock is surrounded and complemented by growths of pomegranate, hollyhock, and lily blossoms.
(20121016)
|
推薦
