《庐山白云图》卷，清康熙三十六年（1697年），王翚绘，纸本，淡设色，纵35厘米，横323.5厘米。

　　卷末自识：“关仝庐山白云图为海内名迹，林壑位置迥出意匠之外。余二十年前偶于金陵友人斋中展阅数过，卷尾有董文敏题识，至今追忆恍在目前边。古香主人以藏纸属画，聊仿其意，万不及一，当不值方家一哂也。董跋并录于右。康熙丁丑暮春望后三日，虞山王翚。”钤“王翚印”、“石谷”印。引首章“上下千年 ”印。

　　“丁丑”是清康熙三十六年（1697年）。

　　在自识之前，有作者所临董其昌的跋：“顷游庐山，自天池策杖大林寺至崖头，下视山腰，俱为云雾所断，四空濛濛作白豪光，身如在银海中，无复林麓村墟可得。以为画家未曾收此奇境，及披此图，宛然庐山所见也。独是日见庐山上方诸峰，亦缥缈灭没为飞烟断霭耳。丙申闰八月晦日舟次繁昌大江中书玄宰。” 

　　“丙申”是明万历二十六年（1596年）。

　　卷首钤压角印“耕烟野老”。收藏印有“傲徕山房”、“仲麟鉴赏”等3方。尾纸有清姜宸英跋。

　　此图绘于清康熙三十六年（1697年），作者时年66岁，是其晚年诸多仿古作品中的代表性画作之一。据王翚自题，因30年前曾观北宋关仝《庐山白云图》，故今用其法绘制此图，以遵“古香主人”之嘱。王翚曾与其师王时敏遍游大江南北，尽得观摹收藏家之秘本，故其摹古功力极高。王时敏称赞他：“集古人之长，尽趋笔端，故能妙绝千古。前诸制作，固足乱真，此则更为脱化，每仿一家曲尽其致，而超逸之趣则又过之。”这幅作品恰恰印证了王时敏对王翚的评价。

　　“古香主人”即爱新觉罗·岳乐，王翚为其创作极为精心。画面上峰峦起伏，云雾迷茫，其中间的瀑布、杂树、竹亭、山石以浓密的雨点皴出之，正是仿关仝一路北方山水画法。全图工整谨密，秀润苍浑，深得关仝“笔简景少，气壮意长”之旨。

 

--------Introduction in English--------

 

"Lushan Baiyun Tu" Volume, 36 years of Emperor Kangxi in the Qing Dynasty (1697), Wang Qi painted, paper, light color, vertical 35 cm, horizontal 323.5 cm.

At the end of the scroll, I realized myself: "The Baiyun Picture of Guanbo Mountain is a famous landmark in the sea, and Lin Qi's position is quite beyond the imagination. Over the past 20 years, I occasionally read it in my friend's studio in Jinling. There are Dong Wenmin's inscriptions at the end of the scroll. So far, I recall it as if it were at the present time. The owner of Guxiang used Tibetan paper as a painting to imitate its meaning. It was not worth a sip from Fang's family. Dong Ba was recorded on the right side. Three days after Kang Xiding's ugly twilight, Wang Qi of Yushan Mountain. Scandinavian "Wang Jian-yin" and "Shigu" seals. The first chapter is "Up and down thousand years" seal.

Ding Chou was the 36th year of Kangxi in the Qing Dynasty (1697).

Before self-awareness, Dong Qichang's postscript was written by the author: "Tour Lushan Mountain on a hectare, from Tianchi Cezhang Dalin Temple to Yatou, looking down at the mountainside, all are broken by clouds and mists, and the sky is covered with white glory, as in the Silver Sea, there is no village ruins in Fulin Lushan." I thought that the painter had never received this wonderland, and put on this picture, just as Lushan saw it. Only the peaks above Mount Lushan can be seen day by day, but they are also destroyed by the smoke. Bing Shen-jun's boat journey in August was a flourishing River in Zhongshu Xuanzai.

Binshen was the 26th year of Wanli in the Ming Dynasty (1596).

Head scroll press corner print "farming tobacco field old". The collection is printed with "Ao Lei Shan Fang" and "Zhong Lin Appreciation". Tail paper has Qingjiang Chen Yingba.

This painting was painted in 1697 in Kangxi, Qing Dynasty, when the author was 66 years old. It is one of the representative paintings in many antique works in his later years. According to Wang Qi's own title, since he had observed the Baiyun Tu of Lushan Mountain by Guan Bing in the Northern Song Dynasty 30 years ago, he used this method to draw this map in order to comply with the orders of the "master of ancient fragrance". Wang Fei and his teacher Wang Shimin traveled all over the Yangtze River to imitate the secret books of collectors, so their ability to imitate antiquity is very high. Wang Shimin praised him: "Collecting the strengths of the ancients and making every effort to write, it can be wonderful for thousands of years. Previous production, solid chaotic, this is more detached, each imitation of a song to its best, and the fun of transcendence is over. This work just confirms Wang Shimin's evaluation of Wang Fei.

"Master of Guxiang" is Aixinjueluo Yuele, for which Wang Fei is very meticulous in his creation. The pictures are full of ups and downs, clouds and mists. The waterfalls, miscellaneous trees, bamboo pavilions and rocks in the middle emerge with dense raindrops, which imitate the northern landscape painting along Guandu Road. The whole picture is neat and precise, beautiful and graceful, which is deeply related to Guan Bing's purpose of "less scenery and more vigor".