文件大小：178 MB

清王原祁春雲出岫軸

。

普通会员：免费VIP：免费SVIP：免费

资源：清王原祁春云出岫轴|15幅|178 MB|高清下载由书法网于2026年05月22日分享，收录在书画资源数据库中；此资源的编号：GCSHTB01622、艺术家：王原祁、分类：书画、子类：绘画、文件格式：PNG、文件大小：178 MB，更多资源信息及下载地址文中查阅。

名称：清王原祁春云出岫轴
资源编号：GCSHTB01622
艺术家：王原祁
国家：中国
年代：清代
出处：台北故宫
分类：书画
子类：绘画
类型：馆藏下载
格式：PNG
材质：绢
页码/数量：15幅
收藏位置：国立故宫博物院
文件大小：178 MB
压缩格式：rar
下载地址：网盘
专辑系列：台北故宫书画作品
备注说明：中画00005200000

资源截图预览

清王原祁春雲出岫軸

资源编号：GCSHTB01622

清王原祁春雲出岫軸

清王原祁春云出岫轴

詳細資料

藏品類型：繪畫

文物統一編號

中畫000052N000000000

作品號：中畫00005200000

品名：清王原祁春雲出岫　軸

分類：繪畫

作者：王原祁

數量：一軸

典藏尺寸

本幅：124x71

質地

本幅：絹

題跋資料
題跋類別	作者	位置	款識	書體	全文

作者款識

王原祁

本幅：臣王原祁恭畫

楷書

印記：臣原祁

題籤

王原祁山水。

印記資料
印記類別	印記

鑑藏寶璽：乾隆御覽之寶

鑑藏寶璽：乾隆鑑賞

鑑藏寶璽：石渠寶笈

鑑藏寶璽：三希堂精鑑璽

山水

溪澗、湍泉

溪澗

其他主題

樹木

其他主題

建築

水榭

技法

寫意

皴法

披麻皴

苔點

參考資料

收藏著錄：故宮書畫錄（卷五），第三冊，頁539

收藏著錄：故宮書畫圖錄，第十冊，頁351-352

內容簡介（英文）

Wang Yuan-ch'i was grandson of the renowned artist Wang Shih-min, and they were two of the "Four Wangs"advocating the Orthodox School of painting. After passing the Presented Scholar examination in 1670, Wang Yuan-ch'i became active at court and strongly influenced painting there. Following the literati style, he employed the techniques of the Yuan masters. Many officials studied his painting style and he also was chief compiler of the 1708 imperial catalogue P'ei-wen chai shu-hua p'u.

Though not dated, this is probably a late work. Since the landscape is painted on silk, the surface coloring has an even glossier sense. The structure of the landscape veins quotes from the visual vocabulary of the Yuan master Huang Kung-wang.

內容簡介（中文）

王原祁（西元一六四二－一七一五年），江蘇太倉人。時敏之孫。字茂京，號麓臺。康熙庚戌進士，歷官少司農。畫由家學，遠邁時倫，為清四大家之一。

此幅不記年月，大抵亦為暮年之作，蓋筆墨不求細謹，以拙樸為尚。與幕年諸作若合符契，第以出之於絹，故不若用紙之更有古趣。青綠設色，信筆塗抹，錯雜不勻，於斑剝陸離之中，自饒古厚之意，此變舊法而能自陳新意者。壓頂一峰，與遠山相映，輕清重厚，交錯互出，極饒妙韻。

內容簡介（英文）

Though the painting is not dated, it probably is a late work. There is no concern for fine, detailed use of the brush and ink, but a calculated simplicity which is in keeping with other late works by Wang Yűan-ch’i. Since the landscape is painted on silk, it is less antique in spirit than if it had been painted on paper. The blue and green pigment is applied freely, maintaining a successful mid-point between variety and continuity that has an antique style. The variation on the antique enabled Wang Yűan-ch’i to develop a new style. The highest mountain peak is complemented by the distant mountains which are more brilliant in color and emerge intertwined with each other.