书体:

色彩:

水墨

装裱形式:

轴

创作时间:

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：养心殿鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

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：翰林院侍讲臣王原祁恭画；书体：楷书；全文： 印记：臣原祁

主题:

主要主题：山水  ；其他主题：山水云 ；其他主题：树木松 ；其他主题：建筑桥 ；其他主题：建筑房舍 ；其他主题：建筑水榭 ；其他主题：山水溪涧、湍泉溪涧；其他主题：树木  ；其他主题：山水江河、湖海江河

技法:

写意 皴法披麻皴皴法米点皴苔点 

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页671 收藏着录： 故宫书画录（卷五），第三册，页540 收藏着录： 故宫书画图录，第十册，页353-354 参考书目： 1.江兆申，〈清王原祁云壑流泉图〉，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136。 内容简介（中文）： 王原祁，江苏太仓人，王时敏之孙，字茂京，号麓台。生于明崇祯十五年，死在清康熙五十四年，中康熙九年进士，历官至少司农。他的山水画得自祖传，学的仍是元代黄公望，但却能别开生面，以明末董其昌的理论和技法为基础，演绎成ㄧ种干笔皴擦、淡墨焦墨交互为用层层加深的画法，这种以「面」取代「线」的绘画观，颇为近似现代石炭画法。是以他的作品画面重山复水、丛树村落，纵横错杂，近看浑淆ㄧ片，远看则景物虚实、高下远近，顿见分明。 内容简介（中文）： 麓台墨笔仿大癡。笔墨特为腴润。下署臣字款。是当年进御之作。 内容简介（英文）： This painting was done expressly for the emperor, as indicated by Wang’s signature, which includes the word “servitor.” This was inspired by the work of the Yüan master Huang Kung-wang (1269-1354) and employs a brush and ink technique that is rich and full-bodied in effect. 内容简介（英文）： Wang Yűan-ch’i was from T’ai-ts’ang in Kiangsu. He was a grandson of the artist Wang Skih-min. In 1671 he successfully passed the chin-shih examination and was later appointed a shao-ssu-ning official. His landscape painting continued the traditions of his forerunners - for example, he still studied the painting of the Yűan dynasty master Huang Kung-wang. But he was nevertheless able to open up new paths in painting. Using the theories and achievements of the late Ming painter Tung Ch’i-ch’ang as a basis, he evolved a kind of dry and rubbed brush style. Bland ink and roasted ink are juxtaposed in layers to add depth to the painting. The resulting surface is used instead of the more traditional linear one, rather like modern charcoal drawing. With its complex surface, numerous mountains and streams, trees and villages, miscellaneous vertical and horizontal forms, this painting seems confused in its details when viewed at close-by. But seen from afar, the scenery is transformed into solid and hollow, high and low, far and near forms, which can all be immediately distinguished.