清 王原祁宋元画意清 王原祁宋元画意设色／水墨纸本 散册页十一开每页35 x 30.2 cm. (13 ? x 11 7/8 in.)题识：1 岁寒图。戌子（1708年）小春戏墨。2 余画卢鸿草堂有期仙磴，颇近此意。倣梅道人。3 倣北苑，写于双藤书屋。4 倣黄鹤山樵夏日山居笔。5 拟大痴，学北苑。6 倪高士设色小景。王原祁。7 秋日晴窻，倣米元晖。8 倣大痴天池石壁意。9 元季曹云西设色用墨，颇得逸致，此图近之。10 余见李营丘、巨然、郭河阳俱有雪景，此图参用其意。麓台。钤印：王原祁印（二次）、麓台（二次）、求是堂、王茂京、茂京、麓台、石师道人、别号麓台、兴与烟霞会、西庐后人题跋：画在师古又不必泥古，盖古人之画，心花透露，寄于毫端，一家有一家之妙。若执定成法，铢两不失，则为刻舟求剑，生趣何在？此非可为浅学者语也。余在畅春园退直公余兴会所至，即点染此册历年而成。分幅命题，区别宋元名色，不过自抒己见而已。若云与古人肳合，余不敢自信也。戊子（1708年）仲冬呵冻题于雪窻。王原祁。钤印：王原祁印、麓台、御书画图留与人看藏印：吴蔚光（1743-1803）：蔚光珍藏、海虞吴氏拥书楼图史缪岐（1821-1885）：缪岐鉴赏其他：汉庐心赏、虞山北去让塘西谬时学轩此长物吴蔚光题签：王麓台山水。湖田外史珍藏，嘉庆庚申（1800年）重□。钤印三方注：王原祁（1642-1715），字茂京，号麓台，清初名家王时敏（1592-1680）之孙，为清初四王之一。幼作山水秉承家学，追摹古法。康熙九年（1670）中进士，官至户部左侍郎。后入侍南书房，又入直畅春园，侍奉康熙御赏书画之余以画供奉内廷，有“御前染翰”一段佳话。　　《宋元画意》册十开仿古山水，首开作于戊子（1708）年小春，末页跋题于同年仲冬雪窗，由春至冬，经历四季而成，诚为画家晚年力作。山水十开作于畅春园“退直公余”，分别倣吴镇笔意摹卢鸿（另见北京故宫藏王原祁《卢鸿草堂十志图册》）、董源、王蒙、黄公望、倪瓒、米友仁、曹知白、李成、巨然、郭熙，丘壑布局小中见大。王原祁晚年笔墨逾见苍茫古朴，无疑得益于长年奉命鉴定内府书画，饱览古今名贤手迹的难得经历。　　同年，王原祁奉诏主持编纂的《佩文斋书画谱》成书，为画史作出重大贡献。论笔墨，王原祁祖父时敏以黄公望为宗；麓台恪守祖父训导，笔墨出宋入元，神韵力追诸家精髓。《宋元画意》题跋明示：“画在师古，又不必泥古”。纵观山水册，恰是其“自抒己见”之笔外韵趣。十开山水每页麓台钤印更无一重复，别有匠心。　　此册由吴蔚光（1743-1803）、缪岐（1821-1885）递藏。FROM THE COLLECTION OF PROFESSOR WEN FONG (LOTS 822-823)A towering figure in the history of Chinese art, Wen Fong (1930-2018) was born in Shanghai and earned his doctoral degree from Princeton University, where he taught Chinese art history from 1954 until his retirement in 1999. Concurrent with his contributions at Princeton, he served from 1971 to 2000 as a special consultant to the Department of Asian Art at the Metropolitan Museum of Art. His vision shaped the Met’s collection of Asian art and drove important acquisitions, adding masterpieces to the Museum’s world-renowned collection. Professor Fong was a prolific scholar, educator and connoisseur who trained generations of art historians and contributed to seminal publications on Chinese art. Part of Professor Fong’s personal collection was offered by Christie’s in May 2016 and achieved exceptional results.Details WANG YUANQI (1642-1715)Landscape after Song and Yuan Masters A set of eleven loose album leaves, ink and colour/ink on paperEach leaf measures 35 x 30.2 cm. (13 ? x 11 7/8 in.)Ten leaves of painting: eight leaves inscribed and two leaves inscribed and signed, with a total of twelve seals of the artistFirst leaf dated spring, wuzi year (1708)One leaf of colophon by the artist, dated winter, wuzi year (1708) with three sealsFive collector’s seals including two of Wu Weiguang (1743-1803)Titleslip by Wu Weiguang, dated gengshen year (1800), signed with two sealsNote:The youngest of the artists collectively known as the Four Wangs of the early Qing, Wang Yuanqi (1642-1715) was tutored by his grandfather, the prominent artist Wang Shimin (1592-1680). Like his grandfather, he advocated the emulation of the work of the Song and Yuan masters, which formed the foundation of the orthodox style of painting. A prominent court official, he served as the keeper of the imperial collection and often accompanied Kangxi in viewings. It is recorded that the Emperor also enjoyed observing him during the act of painting.Painted from spring to winter over the course of 1708, Landscape after Song and Yuan Masters dates to the height of artist’s late period as Wang Yuanqi notes in his colophon, in the quiet moments during his service at the Changchun Garden. Each leaf interprets the style of an earlier artist, including Wu Zhen, Lu Hong, Dong Yuan, Wang Meng, Huang Gongwang, Ni Zan, Mi Youren, Cao Zhibai, Li Cheng, Ju Ran and Guo Xi. Reducing the artists’ schema to abstract geometric forms, his brushwork is assured and confident, undoubtedly benefitting from the rare experience of viewing calligraphy and paintings in imperial collection for many years.1708 was also the year Paintings and Calligraphy in Peiwen Studio, the compilation of the imperial collection which Wang Yuanqi presided over and supervised, was completed. In the colophon of Landscape after Song and Yuan Masters, he proposes that learning from the style of the masters should not be limited to mere imitation. Drawing inspiration from the masters of the Song and Yuan dynasties, the present album is a testament to the artist’s wish to ‘express my own perspective’. Also of note is that each leaf bears a different artist’s seal, with no repetition, suggesting that Wang Yuanqi took particular care in completing the album. The album was collected by collectors including Wu Weiguang (1743-1803) and Miao Qi (1821-1885). Literature Kei Suzuki ed., Comprehensive Illustrated Catalog of Chinese Paintings: Vol. 1 American Collections, Private Collection, University of Tokyo Press, Tokyo, 1983, pp. I-167-168, pl. A18-033. Conditions of sale