题识：癸未冬日，仿黄鹤山樵于海淀寓直，王原祁。钤印：王原祁印、麓台、御书画图留与人看、西庐后人鉴藏印：水西吟馆 读王原祁《层峦耸秀图》在清代文化艺术领域有这么一个现象，即儒家思想中的：“述而不作”，语出《论语·述而》：“述而不作，信而好古。“主要是指要学者阐述前人的成说，自己并不创新。实则是一种学者对于先贤智慧续承的一种谦逊态度，而清代这种现象极为普遍，很多文人受到了这种影响，喜欢把自己的“创作”标注为“仿古”。四王作品中很多都题写“仿某某人笔意”，黄山画派的梅清，金陵画派的龚贤，再到令今人认为最有创新性的扬州画派中也随处可见。王原祁在著述的《麓台题画稿》五十二则中，有二十六则是仿黄公望笔意的，仿倪、黄两家的有三则，此外专仿或杂仿荆浩、关同、董源、巨然、米芾、米友仁、赵令穰、赵孟俯、高克恭、王蒙、倪瓒、吴镇诸家的有一则二则不等。而且这五十二幅作品上，写明“仿”的就是五十幅，从此确实可以说王原祁是摹古大家。而此次拍卖之王原祁《仿黄鹤山樵笔意》在其摹古佳作中与其同作于海淀寓直，现藏于北京故宫博物院，创作于1707年（66岁）的《丹台春晓图》和《松溪仙馆》（北京故宫博物院藏）、《仿王蒙山水图轴》（上海博物馆藏）都可以说是他仿作时期艺术成就最高峰的代表作品。本幅王原祁《层峦耸秀》纸本，纯用水墨，纵51厘米、横101厘米。绘于清康熙四十二年（1703），作者时年六十一岁。此图取法“元四家”王蒙，图绘重峦迭嶂，丛林密树，房屋隐于崇山茂树之间，瀑布清泉自峻岭而下，山脚松树以精细的线条刻画，山顶处以破墨戳点，山石的脉络是以细密的解索皴表现，其拖墨而下，整幅笔法繁密，可谓“淡而厚，实而清”，得黄鹤山樵技法之大成。在王蒙身上，王原祁特别强调奇与变的现象，他说：“元画至黄鹤山樵而一变，山樵少时，酷似赵吴兴，祖述辋川，晚入董巨之室，化出本宗体例，纵横离奇，莫可端倪，与子久、云林、仲圭相伯仲，迹虽异而趣则同也。今人不解其妙，多作奇幻之笔，愈趣而愈远矣”他认为王蒙的成就乃是能够选取古人精华，为己所用，“黄鹤山樵，元四家中为空前绝后之笔，一变本家法，出没变化”。就其创作时期，本作已属王原祁晚年定型风格，在他晚年的绘画作品中“通过减少细节，强调立体的重量感和空间的层次，从而是画面结构更坚实”。他总是在极力追求“苍润浑厚”的笔墨效果，而且别具一格的“以色代墨”，色墨互用，加上之前习惯使用的几何团块机构的章法，使作品更具“润”、“厚”之特点。本幅将王蒙笔法之精为己用，参诸家长处之外，自成一派。笔之老练、用墨之娴熟、画法之精道、意境之深幽，是凝聚毕生绘画经验作独具内涵的佳作。 作 者： 王原祁 创作年代：1703年作 尺 寸：101×51cm
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Idea: Before winter, imitating Huanghe Mountain in Haidian, Wang Yuanqi. Ban Yin: Wang Yuanqiyin, Lutai, imperial paintings and calligraphy left for people to see, Xilu descendants to collect seals: Shuixi Yin Museum read Wang Yuanqi's "Rising Hills and Graphics" in the field of culture and art in the Qing Dynasty, that is, Confucianism: "Saying but not writing", saying "Saying but not writing, believing and good antiquity". "Mainly refers to the need for scholars to elaborate on their predecessors'statements that they are not innovative. In fact, it is a kind of modest attitude of scholars to the inheritance of the wisdom of the sages. This phenomenon was very common in the Qing Dynasty. Many scholars were influenced by this phenomenon and liked to label their "creation" as "imitation of the ancients". Many of the works of the Four Kings are inscribed "imitating someone's brushwork". Mei Qing of Huangshan School, Gong Xian of Jinling School and Yangzhou School, which is considered the most innovative, can also be seen everywhere. Among the 52 Drawings on Lutai Title written by Wang Yuanqi, 26 are imitations of Huang Gongwang's brushwork. There are three imitations of Ni and Huang. In addition, there are one or two imitations of Jinghao, Guantong, Dong Yuan, Juran, Mi Fu, Mi Youren, Zhao Lingju, Zhao Mengyou, Gao Kegong, Wang Meng, Ni Nian and Wuzhen. Moreover, in these 52 works, it is said that fifty pieces are "imitated". Henceforth, it can be said that Wang Yuanqi is a great imitator of ancient times. Wang Yuanqi's "Imitating Huanghe Mountain Woodcutter's Brushwork" in this auction, in his masterpiece of imitating ancient times, is co-authored in Haidian. It is now hidden in the Beijing Palace Museum. His "Dantai Chunxiao Tu" and "Songxi Xian Museum" (Beijing Palace Museum Collection) created in 1707 (66 years old) and "Imitating Wang Meng Mountain and Water Picture Axis" (Shanghai Museum Collection) can be said to be the peak of his artistic achievements in the period of imitation. Representative works. This picture of Wang Yuanqi's "Layers of Rising Beautiful" paper, pure ink, 51 cm in length and 101 cm in transverse. Painted in the forty-second year of Kangxi (1703), the author was 61 years old. This picture is drawn by Wang Meng, the "Four Families of Yuan Dynasty", who draws numerous mountains, dense trees in the jungle, houses hidden among the lush trees in Chongshan, waterfalls and clear springs coming down from the steep mountains, pine trees at the foot of the mountain are delicately depicted with lines, and ink-breaking points are poked at the top of the mountain. The veins of the rocks are expressed by detailed deconstruction, and the whole painting is dense, so it can be called "light and thick, solid and clear", which is the skill of Huanghe Mountain Blooming. Dacheng. In Wang Meng's case, Wang Yuanqi emphasized the phenomena of miracle and change. He said, "When Yuan paintings were small, they were similar to Zhao Wuxing, Zu Shu Wanchuan, who came into Dong Ju's room at night, and turned out to be the original style. It was bizarre and bizarre. It was similar to Zi Jiu, Yunlin and Zhonggui, though different and interesting. Nowadays, people can't understand why it's wonderful to write more fantastic pens. The more interesting and far away it is. "Wang Meng's achievement is that he can select the essence of the ancients for his own use." Huanghe Shanqiao, the fourth family of the Yuan Dynasty, is an unprecedented and unprecedented pen, which changes his family style and does not change. During his creative period, this work belongs to Wang Yuanqi's stereotyped style in his later years. In his paintings, "by reducing details, emphasizing the three-dimensional sense of weight and spatial level, the structure of the picture is more solid". He always strives to pursue the effect of "lush and rich" brush and ink, and has a unique "color instead of ink". The combination of color and ink, together with the constitution of the geometric block mechanism used before, makes the works more "lush" and "thick". In this picture, the essence of Wang Meng's brushwork is used for his own purposes, and besides his parents, it is a school of his own. The sophisticated brush, the skillful use of ink, the essence of painting and the deep artistic conception are the masterpieces that condense life-long painting experience and have unique connotations. Author: Wang Yuanqi's creation age: 1703 size: 101 *51cm
