书体:

色彩:

水墨

装裱形式:

轴

创作时间:

清圣祖康熙九年（1670）

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：干清宫鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：伯子
收传印记：汪氏古香楼藏

题跋资料:

题跋类别：作者款识；作者：王时敏；题跋位置：本幅；款识：庚戌（西元一六七０年）春仲。倣大癡浮峦暖翠图。王时敏。；书体：草书；全文： 印记：王时敏印、烟客

主题:

主要主题：山水  ；其他主题：山水溪涧、湍泉溪涧；其他主题：建筑房舍 ；其他主题：建筑亭 ；其他主题：建筑桥 ；其他主题：树木  

技法:

写意 皴法披麻皴苔点 

参考资料:

收藏着录： 石渠宝笈续编（干清宫），第二册，页578 收藏着录： 故宫书画录（卷八），第四册，页91 收藏着录： 故宫书画图录，第十册，页23-24 参考书目： 1.陈昱全，〈清王时敏倣黄公望浮岚暖翠图〉，收入何传馨主编，《山水合璧：黄公望与富春山居图特展》（台北：国立故宫博物院，2011年五月初版一刷），页341。 内容简介（中文）： 王时敏（1592-1680），江苏太仓人。字逊之，号烟客，又号西庐老人、西田主人等。出生书香世家，父亲与祖父都曾担任明朝官职，早年得董其昌教导，继承董氏文人画理论，为清初正统派「四王」之一。此轴山体造型和构图与早年〈临黄公望拟董源夏山图〉相近，但缩短前景水域，亦除去画面左上的远景山峰，使主山迫近观者并强化高耸竖立的气势。纯以水墨为之，用披麻皴与侧笔点苔法，加以干笔皴擦山体质面，营造画面清朗秀润的气质。(20110609) 内容简介（中文）： 王时敏（西元一五九二－一六八０年），江苏太仓人。字逊之，号烟客，自号西庐老人、西田主人、偶谐道人、归村老农。性资颖异，淹雅博物，画为清四大家之一。王时敏画，守法甚严，着意之作，间或伤于板滞。此帧纯用秃笔，皴擦老辣，点树用中锋，有跳脱生动之致。益以墨采焕发，燥湿相宜。画成于庚戌（西元一六七０年）为七十九岁所画，是暮年得意笔。 内容简介（英文）： Wang Shih-min was a native of T’ai-ts’ang, Kiangsu. His style name was Hsün-chih; he was also known as Yen-k’o, Hsi-lu lao-jen, Hsi-t’ien chu-jen, Ou-hsieh tao-jen and Kuei-ts’un lao-nung. Wang Shih-min is regarded as one of the Four Wangs of the Ch’ing dynasty.Wang Shih-min placed special emphasis on the principles of execution. Hence his works are all carefully planned and occasionally, overly precise.In this painting, executed when Wang Shih-min was seventy-nine years old, he displays a particularly lively use of brush and ink. 内容简介（英文）： Wang Shimin (style name Xunzhi; sobriquets Yanke, Xilu laoren, Xitian zhuren, etc.) was a native of Taicang in Jiangsu. Born into a family of scholars, both this father and grandfather served the previous Ming court as officials. And in his early years Wang Shimin came under the instruction of the famous literatus Dong Qichang, following his theories on scholar painting. Wang thereafter became one of the “Four Wangs” of the Orthodox School in the early Qing dynasty.The mountain form and composition of this hanging scroll are similar to Wang Shimin’s “Copying Huang Gongwang’s Imitation of Dong Yuan’s ‘Summer Mountains’” done when younger. However, the foreground water area has been shortened and the distant scenery of mountain peaks on the left side of the composition eliminated, bringing the main mountain closer to the viewer and emphasizing its lofty and majestically towering form. Done completely in monochrome ink, the hemp-fiber texture strokes and slanted-brush moss dots combined with dry brushwork texturing for the mountain forms create a painting with an atmosphere of pure refinement.(20110609)