9月9日起至09年1月4日，清代画家王翚的画作在纽约大都会博物馆展出，成为该馆今年秋季系列特展之一。
该展览名为《山水清辉：王翚(1632-1717)艺术展》由四部分27件作品组成，按时间顺序讲述了王翚的艺术发展历程，从早年对传统山水画风的精湛诠释，到1689年获选为康熙皇帝南巡作画而达到事业高峰为止。
此次展览展出的27副画作分别来自北京、上海、台北和北美地区的收藏，其中的11件作品从未在欧美国家展出，包括两件山水长卷巨幅绘画。为了配合此次王翚作品的展出，纽约大都会博物馆还精选众多馆藏的中国早期山水画作同时展出。
王翚（1632年－1717年），字石谷，清初画家。号耕烟散人，又号乌目山人、清晖老人，江苏常熟人。
出身于绘画世家。祖上五代擅画，曾祖王伯臣善画花鸟，祖父王载仕擅长山水、人物、花卉；生父王云客善画山水。少时先拜同里张珂为师，专摹元代黄公望的山水画，后见赏于王鉴和王时敏，收为弟子，对传统古画的鉴赏、临摹，功力极深，宋以来许多失传的古画，借王翚的临摹得以传世。笔参古今，貌含南北，画技之精熟为清代第一。清代张庚的《国朝画征录》 评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）奉康熙之命，上京监绘《康熙南巡图》的一系列制作，绘毕御赐“山水清晖”匾额，归里致仕，求画者甚众。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。王翚从学弟子甚多，是“虞山派”的创始人。
Landscapes Clear and Radiant: The Art of Wang Hui (1632–1717)
September 9, 2008–January 4, 2009
Galleries for Chinese Painting and Calligraphy,
2nd floor, north wing
Wang Hui, the most celebrated painter of late 17th-century China, played a key role in reinvigorating past traditions of landscape painting as well as in establishing the stylistic foundations for the imperially sponsored art of the Manchu Qing court. An artist of protean talent and immense artistic ambition, Wang developed an all-embracing synthesis of historical landscape styles that constituted one of the greatest innovations in the arts of late imperial China. The exhibition features 27 masterpieces by Wang Hui from the Taipei and Beijing Palace Museums, the Shanghai Museum, and several North American collections, including five outstanding works from the Metropolitan's permanent collection. These 27 paintings are complemented by a selection of earlier landscapes from the Song (960–1279), Yuan (1279–1368), and Ming (1368–1644) dynasties, mostly drawn from the Museum’s holdings, that highlight the sources of Wang Hui’s inspiration.
该展览名为《山水清辉：王翚(1632-1717)艺术展》由四部分27件作品组成，按时间顺序讲述了王翚的艺术发展历程，从早年对传统山水画风的精湛诠释，到1689年获选为康熙皇帝南巡作画而达到事业高峰为止。
此次展览展出的27副画作分别来自北京、上海、台北和北美地区的收藏，其中的11件作品从未在欧美国家展出，包括两件山水长卷巨幅绘画。为了配合此次王翚作品的展出，纽约大都会博物馆还精选众多馆藏的中国早期山水画作同时展出。
王翚（1632年－1717年），字石谷，清初画家。号耕烟散人，又号乌目山人、清晖老人，江苏常熟人。
出身于绘画世家。祖上五代擅画，曾祖王伯臣善画花鸟，祖父王载仕擅长山水、人物、花卉；生父王云客善画山水。少时先拜同里张珂为师，专摹元代黄公望的山水画，后见赏于王鉴和王时敏，收为弟子，对传统古画的鉴赏、临摹，功力极深，宋以来许多失传的古画，借王翚的临摹得以传世。笔参古今，貌含南北，画技之精熟为清代第一。清代张庚的《国朝画征录》 评其为“画有南北宗，至石谷而合焉”。康熙三十年（1691年）奉康熙之命，上京监绘《康熙南巡图》的一系列制作，绘毕御赐“山水清晖”匾额，归里致仕，求画者甚众。王翚与王时敏、王鉴、王原祁合称“四王”，又与吴历，恽寿平合称“四王吴恽”或“清六家”。王翚从学弟子甚多，是“虞山派”的创始人。
Landscapes Clear and Radiant: The Art of Wang Hui (1632–1717)
September 9, 2008–January 4, 2009
Galleries for Chinese Painting and Calligraphy,
2nd floor, north wing
Wang Hui, the most celebrated painter of late 17th-century China, played a key role in reinvigorating past traditions of landscape painting as well as in establishing the stylistic foundations for the imperially sponsored art of the Manchu Qing court. An artist of protean talent and immense artistic ambition, Wang developed an all-embracing synthesis of historical landscape styles that constituted one of the greatest innovations in the arts of late imperial China. The exhibition features 27 masterpieces by Wang Hui from the Taipei and Beijing Palace Museums, the Shanghai Museum, and several North American collections, including five outstanding works from the Metropolitan's permanent collection. These 27 paintings are complemented by a selection of earlier landscapes from the Song (960–1279), Yuan (1279–1368), and Ming (1368–1644) dynasties, mostly drawn from the Museum’s holdings, that highlight the sources of Wang Hui’s inspiration.
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