书体:

色彩:

设色,青绿

装裱形式:

轴

创作时间:

清圣祖康熙四十七年（1708）

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编
鑑藏宝玺：宣统御览之宝
收传印记：静肃欠斋鑑藏印

题跋资料:

题跋类别：作者款识；作者：王原祁；题跋位置：本幅；款识：其章从馀游。应钦召入都。阅二载丁亥春仲。为尊甫德先先生七袠大寿。以分任编辑。不遑趋庭莱舞。值馀扈从南归。切恳写此为南山之祝。途次公事鞅掌。鹿鹿趋直。倣一峯老人笔。点染未竟。戊子（西元一七０八年）春正。应制稍暇。馀墨剩色。拨冗续成。疾行无善步。不足称寿翁添筹驻颜之意。书以志愧。王原祁。；书体：草书；全文： 印记：王原祁印、麓台、御书画图留与人看

主题:

主要主题：山水  ；次要主题：山水江河、湖海江河；其他主题：树木寒林．枯树枯树；其他主题：树木松 ；其他主题：树木竹 ；其他主题：树木  ；其他主题：建筑水榭 ；其他主题：建筑亭 ；其他主题：建筑桥 ；其他主题：建筑房舍 

技法:

写意 皴法披麻皴苔点 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2211 收藏着录： 故宫书画录（卷八），第四册，页97 收藏着录： 故宫书画图录，第十册，页323-324 参考书目： 1.江兆申，〈清王原祁仿黄公望山水〉，收入胡赛兰编，《清王原祁画山水画轴特展》（台北：国立故宫博物院，1997年初版），页124-125。2.陈昱全，〈清王原祁仿黄公望山水〉，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354。 内容简介（中文）： 本幅用披麻皴与侧笔擦染山石，多处直接以赭石、汁绿、花青晕染，鲜丽的色彩对比带给画面生意盎然的气息。前景两组高大乔松引发两股山体运动：一支由左下至右中并延伸至右侧主山；另一支则由左下至左中山脉、最后再由远山山脊延伸往右上主山。透过横向汀渚、房舍、小桥、土坡联结左右两脉山势。流水从右下引入，随着两道山势左右回荡、似断实连，导向远方水岸与天际融成一体，将山体环抱在水天相连的构图之中。(20110609) 内容简介（中文）： 王原祁（西元一六四二－一七一五年），江苏太仓人。字茂京，号麓台，一号石师道人。时敏孙。康熙九年进士，官至户部侍郎。善画，承董其昌及时敏之学，肆力山水，领袖群伦，影响后世甚钜。叠嶂层山，构景繁而不乱；分流曲涧，布局细而不碎。盖丘陵野水，虽平衍错杂，而压顶一山，延绵雄伟之势，足以镇之。下角一坡数树，屋舍掩映于其间，与主山若断若续，遂使全幅空灵。虚实相发，真善于结构者也。 内容简介（英文）： Wang Yűan-ch’i was from T’ai-ts’ang in Kiangsu. His style name was Mao-ching, and his sobriquets were Lu-t’ai and Shih-shih tao-jen. He was a grandson of the artist Wang Shih-min. In 1671 he passed the chih-shih examination. Basing his painting style on those Tung Ch’i-ch’ang (1555-1636) and his father, he was the leading artist of his day and greatly influenced later generations of painters.In this work a mountain range forms a dense but orderly framework. A wilderness stream flows irregularly through the craggy terrain, and the majestic peaks compress the composition with an everlasting, stately power. In the lower corner, buildings concealed by trees top a hillock. The intermingling of light and shadow, contrasting with the central mountain, increase the feeling of spaciousness. Abstract and concrete elements together form a forceful composition. 内容简介（英文）： This painting employs hemp-fiber texture strokes and slanted-brush applications of washes for the mountains and rocks, with many places directly applied with washes of ochre, vegetable green, and cyanine blue, the dramatic contrast in colors giving the painting an atmosphere full of life. The foreground consists of two groups of large pines that compositionally begin the movement of two mountain ranges. One of them goes from the lower left to the middle right and then extends to the main mountain on the right side. The other goes from the lower left to the middle left mountain range and finally extends to the ridge of distant mountains continuing to the main mountain in the upper right. The shoal, building, bridge, and slope motifs connect the force of the two mountain ranges on the left and right. The water also flows from the lower right into the composition, reverberating with the left and right forces of the two mountain ranges, appearing disjointed but actually being connected. Leading to a unity of skies and river banks in the distance, it creates a composition in which mountains surround a connected realm of water and sky.(20110609)