Portrait of Wang Lutai《王麓台小像图轴》

Yu Zhiding (1647–1716)
Yu Zhiding, courtesy name Shangji, also known as Shangji and Shangji, with the pseudonym Shenzhai, originally from Xinghua, Jiangsu, later lived in Jiangdu (present-day Yangzhou), as both places were part of Yangzhou Prefecture at the time, often signing “Guangling Yu Zhiding.” He studied under Lan Ying and later explored the styles of various Song and Yuan masters, excelling in figures, landscapes, and flowers. He was particularly skilled in portrait painting, capturing both form and spirit with precision. His portraits varied widely, from pure outline to the “Jiangnan style” with layers of red and white, and some influenced by Western painting. He skillfully placed portraits in various backgrounds like landscapes, gardens, studios, and couches, effectively conveying the subject’s personality and aspirations, elevating the art of portrait painting once more after Zeng Jing. He served in the imperial court and was highly esteemed in Beijing, with many famous portraits attributed to him.

“Portrait of Portrait of Wang Lutai”
This exquisite figure painting by Yu Zhiding portrays the renowned early Qing landscape painter Wang Yuanqi. Yu Zhiding and Wang Yuanqi collaborated on court painting projects, fostering a natural friendship. This portrait, housed in Changzhou Museum, depicts Wang Yuanqi seated in a half-lotus position on a low, flat rock, gazing forward, with a book he was reading placed beside him. The setting includes bamboo, clouds, a stream, and distant mountains, highlighting Wang Yuanqi’s scholarly and reclusive character. The figure is rendered with balance between outline and color shading, capturing both form and spirit. The inscription reads: “By Guangling Yu Zhiding,” with the seal “Seal of Shenzhai” in red. Surrounding the mounting are colophons by Gu Yun, Yao Jingyuan, and Wu Yusheng, tracing the painting’s provenance.

禹之鼎（1647—1716），字尚吉，又作尚基、上吉，号慎斋，本籍江苏兴化，寄居江苏江都（今扬州），因彼时二地俱属扬州府，故常自署“广陵禹之鼎”。幼时师从蓝瑛，后出入宋元诸家，用功临摹，人物、山水、花鸟皆擅，尤长于写真，形神兼备，无不毕肖。其肖像画广采博取，有纯白描的，有开脸用脂赭层层晕染的“江南画法”，还有一些受西画影响较大的，只是相对较少。禹之鼎擅长将肖像置于山水、园林、书斋、案榻等各类背景之中，以更好地传达像主的性情与追求，让肖像画充满了文气与诗意，继曾鲸之后又一次提升了肖像画的艺术层次。曾入京供奉内廷，誉满京师，一时名人小像皆出其手，推当时第一。

此图为禹之鼎人物画精作，绘清初著名山水画家王原祁小像。禹之鼎与王原祁在宫廷同主司画事，相识相交自在情理之中。从目前资料看，禹之鼎为王原祁所作画像真迹有三件：《王原祁艺菊图》（故宫博物院藏）、《白描王原祁像》（南京博物院藏）和此件《王原祁小像图轴》（常州博物馆藏）。常博藏这件画像，绘王原祁在一低矮平坦的石头上半跏趺坐，目视前方，右手边放着一本正在阅览的书；周边幽篁相伴，云溪环绕，远山高耸，造境雅逸，突出了王原祁作为一位文人士大夫、山水画家寄情山林的隐逸情怀。人物仪态自若，墨骨和色晕并重，衣纹用淡墨勾描，两颧微用脂赭晕染，肌肤色泽明润，立体感强，形神兼备。周围造境亦甚雅逸，实为禹氏人物画中少见。图右下款署：“广陵禹之鼎”，钤朱文“慎斋”印。裱边处有顾沄、姚觐元、吴郁生等人题跋，提示了流传过程。