Wang Yuanqi’s Landscape Map Axis Imitating Ni Huang

[Wang Yuanqi’s imitating Ni Huang’s landscape]

The imitating Ni Mount Huangshan’s water map axis, in the 42nd year of Kangxi’s reign in the Qing Dynasty (1703), was painted by Wang Yuanqi in paper and ink, 97 cm in length and 47.3 cm in width
The author’s own title: “The four families of the Yuan Dynasty all belong to Dong Ju Ni Huang, a different style. The charm of abundant spirit is plain and naive, the wrist is relaxed, and the force is sticky. It is all in the mind. It is the wonder of the weather god’s intention but not intention. The new autumn is cold, the sickness is recuperated, and the accident is abstruse, so this picture is made. However, the pen and the heart can not be combined, so the so-called words and the pen can not follow. The Kangxi Guiwei Mid-Autumn Festival Lutai. Qi title.” Welcome to the first seal “The imperial calligraphy and painting are left for people to see” Zhu Baiwen seal, with “Wang Yuanqi seal” and “Lutai” under the seal. In the lower left corner of this picture, there is a seal of “descendants of Xilu”. The seal seal in the lower right corner is printed with “Xu Zhai Identification” Zhu Wenyin, “Guo Yunlou Collection”, and “Used to be collected by Junan Jiaoyuxuan” Bai Wenyin
The “Guiwei” in the entertainment is Guiwei (1703) in the 42nd year of Kangxi in the Qing Dynasty. Wang Yuanqi was 62 years old
The so-called “Ni Huang” in the title of this painting refers to the painters Ni Zan and Huang Gongwang of the Yuan Dynasty. This painting is in the style of Ni Zan, and its composition is simple. Painting the quiet scenery of the pond and the autumn forest drinking frost. The large amount of white space in the picture, set off by the rocks and trees, has the meaning of “the distant mountains and the clouds and valleys meet, and the distant sky and the water color meet”. The strokes of Huang Gongwang, the patriarchal clan of the mountains and stones in the picture, are calm and steady, and are both chapped and long, vividly showing the soft texture of the mountains in the south of the Yangtze River. From this picture, we can see that Wang not only has a deep understanding of Ni Huang’s painting, but also has been able to apply it to his works with ease. This painting should be one of the representative works of Wang Yuanqi imitating Ni Huang in his later years