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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁1634
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收藏著錄 |
故宮書畫錄（卷八），第四冊，頁68
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收藏著錄 |
故宮書畫圖錄，第五冊，頁7-8
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參考書目 |
1.王耀庭，〈元王蒙花谿漁隱〉，收入王耀庭編，《淵明逸致特展圖錄》（臺北：國立故宮博物院，1988年初版），頁103-104。
2.王耀庭，〈元王蒙花溪漁隱〉，收入王耀庭主編，《傳移模寫》（臺北：國立故宮博物院，2007年初版），頁66。
3.蔣復璁，〈王蒙花溪漁隱圖〉，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67-68。
4.王耀庭，〈桃花源與花谿漁隱〉，《中華民國建國八十年中國藝術文物討論會論文集 書畫(上)》（臺北：國立故宮博物院，1992），頁279-305。
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內容簡介（中文） |
王蒙（西元一三○八—一三八五年），吳興（浙江湖州）人。字叔明，號黃鶴山樵，趙孟頫外孫。畫風以王維、董、巨為宗，但能自立面目，為元四大家之一。
此圖寫霅溪風景，款題為玉泉尊舅作。玉泉已不可考。通幅用筆綿密而精工，垂柳一行，與趙孟頫「鵲華秋色」卷中畫柳之法相同。「花谿漁隱」是從〈桃花源記〉衍生的畫題，創始於趙孟頫。王蒙是趙孟頫的外孫，所受影響，不僅技法而已。
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內容簡介（英文） |
Wang Meng, a native of Wu-hsing (modern Hu-chou, Chekiang), was the grandson of Chao Meng-fu. His unique style was indebted to those of Wang Wei, Tung Yuan, and Chu-jan, for which he is known as one of the Four Yuan Masters.
According to the inscription on this work showing scenery along the Cha River, it was made for the artist’s uncle, Yu-ch’uan. The brushwork is dense and refined, and the weeping willows are done as in Chao Meng-fu’s Autumn Colors on the Ch’iao and Hua Mountains. The fisherman theme here is based on T’ao Yuan-ming’s The Peach Blossom Spring, and the first painter to associate the two was Chao. Thus, Wang, being Chao’s grandson, was influenced by him in not only technique.
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內容簡介（中文） |
王蒙（公元一三O八－一三八五年)，吳興人，字叔明，號黃鶴山樵，趙孟頫外孫。畫得趙氏法而能自立面目，為元四大家之一‧
此圖寫霅溪風景，款題為玉泉尊舅作，玉泉已不可考。觀王沈兩題，當是早年任俠，遲暮歸隱者。通幅用筆綿密而精工，於秋山草堂圖為近，垂柳一行，與趙孟頫鵲華秋色卷中畫柳同出一法。「花谿漁隱」是從「桃花源記」的觀念，所衍生出來的題材，起於元代趙孟頫，王蒙是趙孟頫的外孫，所受影響，不僅技法而已。
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內容簡介（英文） |
Wang Meng was a native of Wu-hsing, Kiangsu. His style name was Shu-ming; his sobriquet Huang-ho shan-ch'iao. He was the maternal grandson of Chao Meng-fu (1254- 1322). Though he followed Chao's painting methods, he created his own style and is known as one of the "Four Masters of the Yuan Dynasty".
W According to the inscription on this hanging scroll, which depicts the scenery along the Cha River in Chekiang, the painting was made for the artist's uncle Yu-ch'uan. The general theme of Recluse on a Flowering Stream is drawn from T'ao Yuan-ming's Peach Blossom Spring. One of the first painters to combine the motifs of the flowering stream and the hermit fisherman was Chao Meng-fu, Wang Meng's maternal grandfather. Both thematically and stylistically this finely executed scroll shows Chao's influence: the weeping willows in front of the cottage are drawn in the same fashion as those in Chao's Autumn Colors of the Ch'iao and Hua Mountains. The brushwork of this painting is quite similar to Wang's own Thatched Cottage in the Autumn Mountains.
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內容簡介（中文） |
王蒙（1308－1385），吳興（浙江湖州）人。字叔明，號黃鶴山樵，趙孟頫外孫。畫風以王維、董巨為宗，但能自立面目，為元四大家之一。
此圖寫霅溪風景，款題「為玉泉尊舅作」。玉泉已不可考。通幅用筆綿密而精工，垂柳一行，與趙孟頫〈鵲華秋色〉卷中畫柳法相同。「花谿漁隱」是從〈桃花源記〉衍生的畫題，創始於趙孟頫。王蒙是趙孟頫的外孫，所受影響，不僅技法而已。
(20110913)
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內容簡介（英文） |
Wang Meng (style name Shuming, sobriquet Huanghe shanqiao), a native of Wuxing (modern Huzhou, Zhejiang), was the grandson of Zhao Mengfu. His painting style was indebted to those of Wang Wei, Dong Yuan, and Juran, but he also established his own unique manner, for which he became known as one of the Four Yuan Masters.
This painting depicts scenery along the Zha River, the signature indicating it was “done for senior uncle Yuquan,” who remains unidentified. The brushwork throughout this work is dense and refined, and the weeping willows rendered as in Zhao Mengfu’s handscroll “Autumn Colors on the Qiao and Hua Mountains.” The recluse-fisherman theme here is based on Tao Yuanming’s “Peach Blossom Spring,” and the first painter to associate the two was Zhao Mengfu. Thus, Wang, who was Zhao’s grandson, was influenced by him in not only technique.
(20110913)
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