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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1975
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁211-212
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收藏著錄 |
故宮書畫圖錄，第四冊，頁331-332
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參考書目 |
1.蔣復璁，〈王蒙東山草堂圖〉，收入國立故宮博物院編，《元四大家》（臺北：國立故宮博物院，1975年初版，1976年二版，1984年三版），頁64。
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內容簡介（中文） |
王蒙（西元一三○八至一三八五年），字叔明，號黃鶴山樵，吳興人。趙孟頫外孫，畫得趙氏法，而能自立面目，為元四大家之一。 此係山樵三十六歲（一三四三）作隔水茆堂，背山重疊，磊石、布屋、開湖，形制皆偏向於方。通幅用筆，皆切實而穩厚。雖樹幹鉤籐，山間苔點，極細微處，均無輕蹤之筆，故別有一種穩重蒼鬱意象。後人中如沈周，得力於此者甚多。
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內容簡介（英文） |
Wang Meng, style name Shu-ming and sobriquet Huang-ho shan-ch'iao, was a native of Wu-hsing, Chekiang. The grandson of the famous painter Chao Meng-fu, he successfully absorbed Chao's methods, yet was able to develop his own style, eventually becoming one of the Four Masters of the Yuan. A thatched lodge lies nestled in a towering range of mountains that rises above a lake. The modeling of the terrain, the arrangement of the buildings, and even the shape of the lake tend toward rectangularity. The artist's handling of ink is solid and sure; even the vine-wrapped tree trunks and dottings of "moss" on the mountains are modeled with a delicacy that sacrifices nothing in terms of forcefulness or strength. Later painters, such as Shen Chou (1427-1509), were also able to achieve this effect. This paintng was executed in 1343 when Wang Meng was 35 years old.
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內容簡介（中文） |
王蒙（西元一三○八－一三八五年），字叔明，號黃鶴山樵，吳興人。趙孟頫外孫，畫得趙氏法，而能自立面目，為元四大家之一。
此係王蒙三十六歲（一三四三）作。隔水茆堂，背山重疊，磊石、布屋、開湖，形制皆偏向於方。通幅用筆，皆切實而穩厚。樹幹鉤藤，山間苔點，極細微處，均無輕縱之筆，別有一種穩重蒼鬱意象。後人中如沈周，得力於此者甚多。
(20120103)
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內容簡介（英文） |
Wang Meng (style name Shuming, sobriquet Huanghe shanqiao), a native of Wuxing, was a grandson of Zhao Mengfu and achieved his methods yet still was able to develop his own style, becoming one of the Four Yuan Masters. This work from the Chinese age of 36 (1343) depicts a thatched lodge separated by water and in front of towering mountains with the terrain modeling, arrangement of buildings, and even shape of the lake tending towards rectangularity. The artist’s handling of ink throughout is solid and steady. Even the vine-wrapped tree trunks and “moss” dotting of the peaks are modeled with delicacy that sacrifices nothing in terms of forcefulness. Later painters, such as Shen Zhou, also would achieve this effect.(20120103)
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