摘要
小川睦之辅旧藏(传)王维《江山雪霁图》原件的公开,为重新检视王维“雪霁图/积雪图/雪江图”此类母题的画题、视觉结构、意涵提供了新的空间。通过系统性梳理、比较现存三本代表性的画作,即小川本、台北故宫博物院藏《江干雪意图》以及美国檀香山艺术科学院藏《长江积雪图》,解析其中所内涵的一系列二元图像组合,并讨论山岩笔法与笔势所体现的观念性,由此推论迟至晚明的临摹本依然在观照山水的路径层面与早期原型保持密切的联系。
The public release of Wang Wei’s(attributed)painting Snow-Cleared Landscape formerly in the collection of Ogawa Mutsunosuke opens new avenues for reexamining themes,visual structures,and meanings associated with the"Snow Scene"motifs(including Snow-Cleared Landscape,Snowy Landscape,and Snowy River)attributed to Wang Wei.By systematically analyzing and comparing three representative extant works—the Ogawa version,Snowy Riverbank Scene in the Taipei Palace Museum,and Snow on the Yangtze River in the Honolulu Museum of Art—this study identifies a series of dual-image structures.Further analysis of the brushwork and brush momentum in rendering mountains and rocks reveals underlying conceptual frameworks.These findings suggest that even late Ming copies maintained close connections with earlier prototypes in terms of their conceptual approach to landscape representation.
作者
郑弌
Zheng Yi(School of Humanities,Central Academy of Fine Arts)
出处
《湖北美术学院学报》
2025年第2期4-10,共7页
Hubei Institute of fine Arts Journal
关键词
王维
江山雪霁
董其昌
笔势
止观
Wang Wei
Snow-Cleared Landscape
Dong Qichang
brush momentum
contemplative observation
