【作品基本信息】
| 作者 | 王原祁 |
| 品名 | 仿宋元人山水册 |
| 朝代 | 清代 |
| 文件大小 | 306.7MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 2122×2834 |
| 尺寸（CM） | 17.96×23.99 |
| 作品数量 | 17 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 绘画,书法 |
| 品名 | 清王原祁仿宋元人山水 册 Album of Landscapes in Sung and Yűan styles |
| 分类 | 绘画 |
| 作者 | 王原祁 |
| 数量 | 一册：十七开（本幅十七开十七幅） |
| 作品语文 | 汉文 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅一 | 43.5×35.7 |
| 本幅二 | 43.5×35.8 |
| 本幅三 | 43.5×36.4 |
| 本幅四 | 43.5×36.6 |
| 本幅五 | 43.5×35.7 |
| 本幅六 | 43.5×35.2 |
| 本幅七 | 43.5×35.7 |
| 本幅八 | 43.5×36.9 |
| 本幅九 | 43.5×35.4 |
| 本幅十 | 43.5×35.6 |
| 本幅十一 | 43.5×35.6 |
| 本幅十二 | 43.5×36.9 |
| 本幅十三 | 43.5×35.4 |
| 本幅十四 | 43.5×37.1 |
| 本幅十五 | 43.5×35.5 |
| 本幅十六 | 43.5×37.1 |
| 本幅十七 | 43.5×36.8 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 纸 |
题跋资料【题跋类别】【作者】【位置】【款识】【书体】【全文】签
封面
楷书王原祁仿宋元人山水。
印记资料
| 【印记类别】 | 【印记】 |
| 鉴藏宝玺 | 乾隆御览之宝 |
| 鉴藏宝玺 | 乾隆鉴赏 |
| 鉴藏宝玺 | 石渠宝笈 |
| 鉴藏宝玺 | 三希堂精鉴玺 |
| 鉴藏宝玺 | 宜子孙 |
| 鉴藏宝玺 | 石渠定鉴 |
| 鉴藏宝玺 | 宝笈重编 |
| 鉴藏宝玺 | 干清宫鉴藏宝 |
| 鉴藏宝玺 | 嘉庆御览之宝 |
| 鉴藏宝玺 | 宣统御览之宝 |
| 鉴藏宝玺 | 宣统鉴赏 |
| 鉴藏宝玺 | 无逸斋精鉴玺 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 石渠宝笈续编（干清宫），第二册，页593-594 |
| 收藏着录 | 故宫书画录（卷六），第四册，页150-152 |
| 收藏着录 | 故宫书画图录，第二十四册，页166-169 |
| 内容简介（中文） | 王原祁（1642-1715），江苏太仓人，王时敏之孙，字茂京，号麓台。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浅绛山水一派，却能掺入明末董其昌的理论和技法，建立一种新的形式，画法有点近似现代石炭素描画，先用浅墨勾画轮廓，再用淡墨、秾墨干笔交互地层层皴擦，然后以焦墨提醒点破。因此，画面所画重山复水、丛林村落，近看墨色浑沌一片，但远加审视，则山石树屋远近虚实，顿见层次分明。 |
| 内容简介（英文） | Wang Yűan-ch’i, tzu (style name) Mao-ching and hao (sobriquet) Lu-t’ai, a native of T’ai-ts’ang, Kiangsu, was the grandson of the painter Wang Shih-min. He received the chin-shih degree in 1670 and pursued a career as an official which culminated in his appointment as Deputy Minister of Agriculture. He carried on the family tradition of landscape painting, which in turn was based on the tradition of the Yűan master Huang Kung-wang. This he combined with the theories and techniques of the pivotal late Ming scholar-painter Tung Ch’i-ch’ang to form a new style which was extremely influential during the 18th century. His technique to some degree resembles modern charcoal drawing: he first outlined the major forms with light ink and then textured them with several layers of varying ink tones applied with a dry brush. Finally, he would add highlights and emphasis with dark black ink. Thus when looked at close-up, the forms in his paintings dissolve into unintelligible surface textures but become clear when viewed from a distance, so that the mountains, trees, and buildings are clearly visible and are rendered in accurate relations of distance and scale. |
【作品展示】
