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王铎溪山紫翠图轴-清朝-山水

 

溪山紫翠图轴,清顺治王铎绘,纸本墨笔,纵95cm,横36.4cm。

  此幅是画家为其三弟王鑨所绘,以高远之法图写,远处雄峰峻岭,气势壮阔,中景飞瀑烟岚,尽显空灵,近处碧树流泉,生机盎然,更有文士二人坐于石上观泉品茗,实则表达出王铎希望与兄弟能安居世间、神游物外的一种愿望。王铎的山水画师承广泛,不专一家,观其作品可以看到画家在宗法五代荆浩关仝以气势与境界奇胜为长的北方画派之外,尚能融入南方画派董源巨然借水墨晕染烘托山川气韵之法,故而笔墨技巧变化丰富,令人眼目一新。创作中,王铎能有意避开清雅潇洒的画苑时风,落笔从容不迫,轻重缓急收放自如,凭借粗劲中见质朴的艺术面目,在明末清初的艺坛上独树一帜。是图即为画家晚年的此类佳作。

  本幅自题“西山紫翠,扑人眉宇。写与三弟鑨,佗日入山种药、茶铛、酒竈,正复如是。己丑(顺治六年,1649),三月力疾书,兄铎笔”,钤“王”“铎”白文联珠方印。另钤乔崇修“固翁”白文方印。

  上诗堂为王铎自题山水画论,左裱边有乔崇修题跋一段。

 

--------Introduction in English--------

 

Xishan Purple Axis, Qingshunzhi, Wang Duo, paper ink, 95 cm vertical and 36.4 cm horizontal.

This painting is painted by the artist for his third brother Wang Yong. It shows Wang Duo's wish to live safely in the world with his brothers and to visit gods. Wang Duo's landscape painters inherited a wide range of works, not a single family. Looking at his works, we can see that besides Jinghao and Guan Duo's Northern School of Painting in the Five Dynasties of patriarchal clan system, which was characterized by their extraordinary momentum and realm, they were able to integrate into Dong Yuan of the Southern School of Painting and Juran's method of using ink to dizzy the atmosphere of mountains and rivers. As a result, their brush and ink skills were varied and eye-catching. In his creation, Wang Duo intentionally avoided the elegant and elegant style of the painting garden, laid down his brushwork calmly, relaxed his priorities, and relied on his vigor to see the plain artistic features, which made him unique in the late Ming and early Qing Dynasties. Pictures are such masterpieces for painters in their later years.

The title of this painting is "Xishan purple green, striking eyebrows. Write with three younger brothers Yong, Tuo Ri into yam, tea, wine stove, is exactly the same. Jiugou (Shunzhi Six Years, 1649), Li Ji Shu in March, Brother Duo Bi, Jun "Wang" and "Duo" Baiwenlian Zhufang Seal. In addition, Junqiao Chongxiu repaired the Baiweng square seal of Guweng

Shangshitang inscribes Wang Duo's own landscape painting theory. Qiao Chongxiu's inscription and postscript are on the left side.

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