Buddish Story of A Hundred "Lohan" Handscroll Painting by Qing Dynasty Master Painter Wang Hui (1632-1717)
清代大畫家王翬 (1632-1717) 百羅漢元升官圖手卷
Total length is 14' with 9' painting body and 5' with three colophons by Fei Dan-xu
Full View of the Painting 畫之全幅
Please click at the left image
for larger close-up pictures
在上圖按滑鼠左上角可進入放大圖形
Right Section of the Painting 畫之右部
Middle Section of the Painting 畫之中部
Left Section of the Painting 畫之左部
Please click at the picture above for close-up pictures
在上圖按滑鼠左上角可進入放大圖形
Buddish Story of A Hundred "Lohan" Handscroll Painting by Qing Dynasty Master Painter Wang Hui (1632-1717)
with three colophons by Famous Qing Painter Fei Dan-xu (1801-1850)
清代大畫家王翬 (1632-1717) 百羅漢元升官圖手卷
清代名畫家費丹旭(1801-1850)題作三跋
Total length is 14' with 9' painting body and 5' with all three colophons
手卷包括三跋共長429 cm, 其中畫長274 cm
Wang Hui (1632-1717),
zi Shigu, hao Quqiao, Gengyan Sanren, Qinghui Zhuren, Wumu Shanren, Jianmen Qiaoke, was a native of Changsu, Jiangsu. His talent in painting was much recognized by Wang Jian who later took him as a student. Then he followed Wang Shimin as well and got the valuable chance of studying and copying the ancient masterpieces of Chinese paintings in the two Wangs' collections. He was summoned to the capital in 1691 to paint the work Imperial Procession to the South for Emperor Kangxi, who wrote a piece of calligraphy with the four characters shanshui qinghui written on it, for appraising the artistic merit of Wang's landscapes. since then he became the most prominent painter. Contemporaries acclaimed him the "Sage of Painting" and the founder of Yushan School.
Wang was particularly proficient in copying ancient masterpieces, ranging from the works of the Tang masters to those of the Ming. Besides he succeeded in grasping the stylistic essence of both the Southern and Northern Schools of landscapes painting, that can be evidenced by his statement, "with the brushwork of Yuan masters, I painted the landscape after the Song model and enriched it with the apiritual resonance of the Tang masters, and through this I could achieve the Great Synthesis". Excelled in depicting landscapes, bamboo and rocks, Wang's style in his middle age was characterized by orderly compositions and meticulous brushwork, while that in his years was tinged with a sense of desolation. he was also noted for painting the landscape in the blue-and-green style and receiving this genre of painting into fashion. He was also known as one of the "Six Masters of the Early Qing Dynasty".
王翬(1632一1717）
字石谷,號臞樵、耕烟散人、清暉主人、烏目山人、劍門樵客,江蘇常熟人。王翬幼即好畫,得王鑑激賞,從之學畫:繼而拜入王時敏門下,因得以盡�怳G王家藏名蹟。一六九一年王翬奉召入京,為康熙皇帝監繪＜南巡圖＞,聖祖賜書'山水清暉"四字,畫名由此天下聞,時人尊之為畫聖,亦為清虞山派之祖。王翬極擅摹古,於唐宋元明畫家無所不窺,能集山水畫南北二宗精萃。他嘗謂:"以元人筆墨,運宋人丘壑,而澤以唐人氣韻,乃為大成"。他擅繪山水、竹石,中年畫風構圖嚴謹,筆觸細膩,晚年轉趨蒼茫,其青綠山水亦有獨特之處。玉翬亦為清初正統畫派六大家之一。
Collector's Note
Wang Hui was a Qing Dynasty painter but he signed with a Ming date. This could be due to that this painting was one of the ancient masterpieces copying work of Wang. The dates of the colophons are also dubious. However, the artwork is so excellent that made me believe that it is a genuine painting of Wang.
藏者注:
王翬本是清人, 他題作萬歷元年可能是摹古之作。此外, 費丹旭題跋亦有可疑之處。但這幅畫技法甚高, 故亦有可能是王翬之作。