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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續編（御書房），第四冊，頁2094
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收藏著錄 |
故宮書畫錄（卷四），第二冊，頁262-263
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收藏著錄 |
故宮書畫圖錄，第二十冊，頁161-164
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研究性論著 |
王翬 ( 一六三二- 一七一七 ), 江蘇常熟人. 字石谷, 號耕煙散人、耕煙外史、烏目山中人、劍門樵客. 少即善畫,十六歲拜同鄉畫家張珂學畫, 「得古蹟真本輒摹仿數紙, 必得其神乃已.」繼得王鑑 ( 一五九八 -一六七七 )、王時敏 (一五九二 -一六八 0 ) 指授, 並隨之閱覽各地珍藏, 因能筆參古今, 貌含南北.清張庚 << 國朝畫徵錄 >> 便稱讚他說:「畫有南北宗, 至石谷而合焉. 」四十歲前後王翬勤奮學習古畫「摹古而不泥古」、「師古而融古」; 五十歲之後更達到「以元人之筆墨移宋人之峰谷,融以唐人之氣韻,然後有大成. 」「夏山煙雨圖」是石谷五十二歲成熟期所作之長卷, 跋中雖言仿五代巨然風格, 而筆墨上卻呈現透過吳鎮 ( 一二八 o -一三五四 ) 學習董巨的傳統.
此圖丘壑位置變化繁複, 淡墨遠山,磴道相通, 連綿的山林由遠而近, 其間點綴著水榭、屋舍、樓宇、橋、瀑布. 樹木枝幹有屈有伸, 點葉、夾葉豐富生動; 繪山石以中鋒披麻皴融合側筆斧劈皴刻畫, 皴筆濃淡、乾溼變化多, 設色以淺絳、石綠為主. 畫面一連串抽象的點與線藉由彼此間有秩序的結組, 而形成一種規律的變化,有力的披麻皴筆觸使得山谷之間有波動的感覺. 畫中山巒連迭起伏開合,流動著一股生動的氣韻, 正符合惲壽平 ( 一六三三 -一六九 o) 題跋所稱「沉渾蒼莽, 靈氣森然」. ( 林莉娜 )
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參考書目 |
1.何傳馨，〈清王翬夏山煙雨圖〉，收入何傳馨、許郭璜編，《夏景山水畫特展圖錄》（臺北：國立故宮博物院，1991年七月初版），頁106-107。
2.〈清王翬夏山煙雨圖〉，收入國立故宮博物院編輯委員會編，《山水畫墨法特展圖錄》（臺北：國立故宮博物院，1987年七月初版），頁68-69。
3.林莉娜，〈帝國的回憶 國立故宮博物院瑰寶赴法展專輯二 — 王翬夏山煙雨圖〉，《故宮文物月刊》，第186期（1998年9月），頁54-55。
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內容簡介（中文） |
王翬（西元一六三二－一七一七年），江蘇常熟人。字石谷，別號耕煙散人、烏目山人、清暉主人、劍門樵客等。從小即善畫，後得拜王鑑、王時敏為師，二人於盡傳所學外，又常偕他參觀各地收藏，藉機臨摹古蹟、揣摩前人畫法，因此，他能夠筆參古今，貌合南北，畫技精熟，為清代第一。其作品最大特色，是用筆繁密精爽，配以清淡明麗的渲染和著色，畫面給人一種明淨雅逸的美感，加上構景繁複，循逕而遊，峰迴路轉，雲飛瀑濺，真是美不勝收。
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內容簡介（英文） |
Wang Hui was a native of Ch’ang-shou, Kiangsu. He became the foremost painter of the Ch’ing Dynasty. He was already a capable painter when he met the famous artists Wang Chien and Wang Shih-min who became his teachers. In addition to providing him with thorough instruction in painting, they also took him to see many famous collections, where he was able to copy the works of many ancient masters. In this way he learned the brush techniques of both past and contemporary masters, and of the Northern and Southern schools of painting. The most significant aspect of Wang’s style is his masterful application of ink, which coordinated with radiant washes and colors, imparts a sense of elegant beauty. The excellence of his complex landscape compositions remains unsurpassed.
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內容簡介（英文） |
Wang Hui (style name Shih-ku; sobriquets Keng-yen san-jen, Wu-mu shan jen, Ching-hui chu-jen, Chien-men ch’iao-k’o, etc.) was a native of Ch’ang-shou, Kiangsu. He became the foremost painter of the Ch’ing dynasty. He was already a capable painter when he met the famous artists Wang Chien and Wang Shih-min who became his teachers. In addition to providing him with through instruction in painting, they also took him to see many famous collections, where he was able to copy the works of ancient masters. In this way he learned the brush techniques of both past and contemporary masters, and of the Northern and Southern schools of painting. The most significant aspect of Wang’s style is his masterful application of ink, which, coordinated with radiant washes and colors, imparts a sense of elegant beauty. The excellence of his complex landscape compositions remains unsurpassed.
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參考書目 |
劉芳如，〈清王翬夏山烟雨圖 卷〉，收入《國寶的形成-書畫菁華特展》（臺北：國立故宮博物院，2017.10），頁282-287、326。
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