王翚秋山万重图轴-清朝-山水

古画 浏览 袁杰 故宫博物院

 

《秋山万重图》轴,清,王翚绘,绢本,设色,纵117.5厘米,横53.3厘米。

  本幅左上方画家自题七言绝句一首,款识:“仿黄子久秋山笔意,庚辰八月,海虞王翚。中秋日重加点染,寄赠帝锡道翁。翬又识。”钤“王翚之印”、“时年六十有九”、“畊烟外史”、“清晖老人”、“澂怀”印五方。此幅画作于清康熙三十九年(1700年),是王翚仿元代著名画家黄公望笔意描绘秋日山林的而创作的,时年王翚69岁。另从题款可知,此画在八月初成,又于中秋节重加补绘后赠与友人。鉴藏印有“虞山张青莲博士鉴藏”、“陈氏家藏”两方。

  画面描绘了常熟虞山一带的深秋景色,境界奇幽。画家自题的七言绝句“远近秋山千万重,醉来吾欲采芙蓉。峰头何处歌招隐,如此丹丘不易逢”使画面愈充满了诗情画意,美不胜收。王翚的绘画追随黄公望却不拘于一家一格,他的山水画功力深厚,仿古能达酷似,写生亦具新意,有“集大成”之誉。此幅画虽为应酬之作,却无草率习气,画法上略学黄公望的浅绛山水,笔墨纯熟细腻,画面古意盎然,又不失自家体貌。王翚是一位长寿而创作殊多的画家,其山水画有早、中、晚三期的变化:35岁以前为早期,主要临仿古画,笔墨尚不成熟;35岁到60岁为中期,博采南北诸家之长,面貌多样,笔墨精能,被誉为“海内第一”;60岁以后属晚期,技法更加纯熟,但下笔、构图往往形成一定格式,不及中期生动多姿。王翚曾说山水画要“以元人笔墨,运宋人邱壑,而泽以唐人气韵,乃为大成”,此幅正体现了他的这一作画观点。

  此画于1998年由北京大学张青莲教授转让,故宫博物院购藏。

 

--------Introduction in English--------

 

Axis, Qing Dynasty, Wang Fei's Painting, Silk Book, Coloring, 117.5 cm in length and 53.3 cm in transverse.

The painter at the upper left of this painting wrote a seven-word quintessential sentence: "Imitate Huangzi Jiuqiushan's brushwork idea, August of Gengchen, Wang Jian of Haiyu. The Mid-Autumn Festival was reintroduced to Emperor Xidao Weng. He knows it again." Jun's "Seal of Wang Jian", "Sixty Nine Years", "History of Liyan", "Old Man of Qing Hui" and "Huai of Mao" are printed on five sides. This painting was painted in the 39 years of Kangxi (1700) in Qing Dynasty. It was created by Wang Xiiming Huang Gongwang, a famous painter of Yuan Dynasty, who was 69 years old. From the inscription, the painting was completed in early August, and was redrawn for friends after the Mid-Autumn Festival. "Dr. Zhang Qinglian of Yushan" and "Chen's family collection" are printed in the collection.

The picture depicts the late autumn scenery in the Yushan area of Changshu, with a strange and secluded realm. The painter's seven-word quintessence: "Far and near the autumn mountains are so heavy that I want to pick lotus when I'm drunk. Where is the peak singing invisible, so that Danqiu is not easy to meet "makes the picture more full of poetic and picturesque, beautiful. Wang Fei's paintings follow Huang Gongwang's style, but are not limited to one family. His landscape paintings are of profound skill, imitate antiquity and are very similar. His sketches are also innovative and have the reputation of "gathering great achievements". Although this painting is a reward work, it has no rash habits. It is a simple study of Huang Gongwang's shallow mountains and waters. Its ink and brush are pure and delicate. The picture is full of antiquity, but it does not lose its own physiognomy. Wang Fei is a long-lived and creative painter, whose landscape painting has three changes: early, middle and late: before 35 years old, mainly facing antique paintings, ink and brush is not mature; 35 to 60 years old for the middle, learn from the North and South of the strong points, diverse features, ink and brush, known as "the first in the sea"; after 60 years old, it is late, skills. The method is more sophisticated, but the writing and composition often form a certain format, which is not as vivid as the medium-term. Wang Yi once said that landscape painting should "use Yuan people's brush and ink to transport Song people Qiu Qian, while Ze's Tang people's charm is Dacheng". This painting reflects his view of painting.

This painting was transferred by Professor Zhang Qinglian of Peking University in 1998 and bought by the Palace Museum.

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