书体:

色彩:

设色,青绿

装裱形式:

轴

创作时间:

清圣祖康熙九年（1670）

文字类型:

质地:

本幅绢

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：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：王时敏；题跋位置：本幅；款识：大中丞觐翁老先生。伟略弘猷。为世鼇柱。越江濊泽。流溢邻疆。敏霑九里馀润。倾向日殷。且衰门之与高平。世有姻谊。顾草野枯贱。不敢以莩末。攀援云霄。惟绘事性所夙耽。久因衰眊废阁。兹勉作小图。奉供几席。虽目昏腕弱。丑拙兹彰。犹冀笔墨之微。仰邀大方法鉴。庶薋葹小草。得沐庆霄渥采。生色更无量耳。康熙庚戌（西元一六七０年）暮春。娄东王时敏识。时年七十有九。；书体：楷书；全文： 印记：王时敏印、西庐老人、真寄

主题:

主要主题：山水  ；其他主题：山水江河、湖海江河；其他主题：建筑篱笆、围墙 ；其他主题：建筑茅草屋 ；其他主题：山水山径 ；其他主题：建筑房舍 ；其他主题：山水瀑布 ；其他主题：山水溪涧、湍泉溪涧；其他主题：树木  

技法:

写意 皴法 皴法披麻皴苔点 

参考资料:

收藏着录： 石渠宝笈续编（养心殿），第二册，页1143 收藏着录： 故宫书画录（卷五），第三册，页506 收藏着录： 故宫书画图录，第十册，页21-22 参考书目： 1.陈昱全，〈清王时敏倣黄公望山水〉，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342。 内容简介（中文）： 本幅近景描绘山屋错落，林木繁密，溪水湍流之景。隔着山岚云雾之后，是三角形层层向后叠加的庞大山体。以湿润、绵长的披麻皴法勾勒岩石与山体轮廓，再罩染赭石和汁绿，使画面更为明亮并具装饰性。本幅母题、构图、山体构成与〈倣黄公望临董源夏山图〉相似。而植被茂盛，山体浑厚，土石平台遍布，加以披麻皴法与侧笔点染的苔点，接近明清画家对黄公望「峰峦浑厚，草木华滋」的认识。此轴为友人觐翁先生，作于康熙庚戌（1670）。(20110609) 内容简介（中文）： 王时敏（西元一五九二－一六八○年），江苏太仓人。字逊之，号烟客，又号西庐老人、西田主人、偶谐道人、归村老农等。生既天资颖异，加上好学精勤，家中又富于收藏，所以博学淹雅，除善诗文书法外，对于山水画特有领悟，一生尊崇黄公望，精研力学其画法，获得出蓝之称誉。他的画以构图复杂为特色，重山峻岭、千村万树，都能安排得层次井然，令人宛然有身入实境之感。 内容简介（英文）： Wang Shih-min, a native of T’ai-ts’ang in Kiangsu, was a man of unusual natural talent in art and a dedicated and diligent student. His family possessed a rich collection of art. Consequently, his learning was deep and refined, and, in addition to being skilled at poetry, prose and calligraphy, he particularly excelled at the art of landscape painting. Throughout his life, he revered the Yüan dynasty master Huang Kung-wang (1269-1354), intensively and successfully studying his painting method. Compositional complexity was a special feature of Wang’s paintings. Layered mountains and folded peaks, numerous villages, and myriad trees were all orderly arranged to give the viewer a feeling of actually being able to enter the landscape. 内容简介（英文）： The foreground scenery of this painting depicts scattered mountain homes amongst dense forests and a rushing stream. Behind and separated by peaks in clouds and mists are layers of triangular forms receding back to create a massive mountain. Moist and continuous hemp-fiber texture strokes outline the rock forms and peak shapes, to which washes of ochre and vegetable green were added, making the painting even brighter and more decorative. The construct of mountain forms, composition, and motifs is similar to Wang Shimin’s “Copying Huang Gongwang’s Imitation of Dong Yuan’s ‘Summer Mountains.’” And the lush vegetation, naturally powerful mountain forms, scattered flat outcroppings, hemp-fiber texture-stroke method, and moss dots done with a slanted brush are similar to the understanding among Ming and Qing dynasty painters of Huang Gongwang’s style as “Peaks and ridges natural and powerful, grasses and trees lush and moist.” This painting was done for Wang Shimin’s friend, Jinweng, in 1670.(20110609)