书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：养心殿鑑藏宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鉴玺
收传印记：司印(半印)
收传印记：祕园
收传印记：广陵李书楼珍赏图书
收传印记：李宗孔
收传印记：守真抱一
收传印记：(一印不可辨)

题跋资料:

题跋类别：题跋；作者：王铎右边幅己丑十月王铎濡墨琅华馆中；书体：行书；全文：此关仝真笔也。结撰深峭。骨苍力石?韪g。婉转关生。又细又老。磅礡之气。行于笔墨外。大家体度固如此。彼倪瓒一流。竞为薄浅习气。至于二树一石一沙滩。便称曰山水山水。荆关李范。大开门壁。笼罩三极。然欤非欤。己丑十月王铎濡墨琅华馆中。印记：铎

主题:

主要主题：山水秋景 ；其他主题：山水江河、湖海 ；其他主题：山水瀑布 ；其他主题：山水石磴、栈道栈道；其他主题：树木  ；其他主题：建筑桥 ；其他主题：建筑栏杆 

技法:

皴法 

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页658 收藏着录： 故宫书画录（卷五），第三册，页16 收藏着录： 故宫书画图录，第一册，页57-58 参考书目： 1.陈韵如，〈关仝秋山晚翠〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页29- 31。2.林柏亭，〈关仝秋山晚翠〉，《故宫文物月刊》，第1期（1983年4月），封底里。 内容简介（中文）： 关仝（十世纪中叶），陜西长安人。画山水师荆浩，而有出蓝之誉。所作多关陕一带景致，雄浑峻拔。论者谓：「笔愈简而气愈壮，景愈少而意愈长。」唯不善人物，画中点景，多由胡翼代笔。本幅无名款，今名系据王铎跋语而订定。画嵯峨高峰，中有泉瀑迂回，景境幽深。边角似经裁切，原作或为一屏风形式，后再改装成立轴。鑑于风格、技法与燕文贵（约九六七－一０四四）略近，故时代应可置入北宋中期。 内容简介（中文）： 关仝（活动于十世纪中期）是荆浩弟子，北宋时与李成、范宽并列三家。他的传世作品大多可议，唯有此幅最受重视。文献上说他画山水石体坚凝、山峰峭拔、杂木丰茂，在此作皆可印证。 层叠的峭峰之下，中央巨岩最为引人注目，而其间断续出现的步道，则揭示着一个外人不易至的幽谷之存在。这或许正是画家意旨所在。 本幅画绢破损严重，历代几经重裱，亦有加补。如巨岩与右上山块之连线，与峰顶上之建筑皆为后添。(20061206) 内容简介（英文）： Kuan T'ung, a disciple of Ching Hao, was known along with Li Ch'eng and Fan K'uan as one of the Three Masters. Most works attributed to him are doubtful in terms of authenticity, but this is one of the most highly regarded. Records indicate that in landscape painting he rendered rocks as solid, peaks as steep, and forests as dense. All these features are found in this work. Below and emerging from the ridges of peaks, a large central cliff juts out in the lower part of this painting to attract the viewer’s attention. A path winds its way along with the stream into the background, suggesting the inaccessible and isolated nature of the terrain. This perhaps is exactly what the artist intended to portray. The silk of this work is heavily damaged and has been remounted several times in the past, being repaired and patched in several places. For example, the continuity between the central cliff and mountain forms in the upper right, along with the building on the peak, are later additions.(20061206) 内容简介（英文）： Kuan T'ung was a native of Ch'ang-an in Shansi. He was a pupil of the landscape painter Ching Hao and later surpassed him. Kuan often painted the landscape of the Shansi region with its rugged and soaring scenery. Early connoisseurs commented that as his brushwork became simpler, his spirit became more expressive; as his motifs became less complex, his ideas more far-reaching. His only shortcoming was his inability to paint figures, which were often done by his student Hu I. This painting has no signature, but was ascribed to Kuan by the Ming connoisseur Wang To. Included is a range of soaring peaks, between which are cascades. The path in the corner appears abrupt, suggesting this work may have once been part of a screen remounted later as a hanging scroll. The style is similar to that of Yen Wen-kuei (967-1044), suggesting this scroll may date to about the middle of the Northern Sung (960-1126). 研究性论着： 高峰峻峭，巍峨矗立，中有泉瀑，迂回而下，景致幽深，奥曲奇伟。山石皴画笔力雄浑，墨色凝重，表现出厚重结实的质感；并以朱色赋染树叶，和画枯枝树来形容秋日时光。从构图上看，画幅两侧甚为促迫，似曾经裁切，原作或本为屏风，后再改装成立轴形式。此幅无名款，今之定名为关仝，乃是根据边幅王铎顺治六年（1649）的跋语而来。王铎认为此幅结构深峭，笔法老苍，气势磅礡，当为关仝真笔。事实上，目前传世作品中，并无可靠的关仝画蹟可以比对，所以本幅是否出于关仝所作，仍有待研究。以风格和表现技法观察，与燕文贵（约967-1044）画风略近，成画时代或可置于北宋中期（约1040年间）。关仝（十世纪中叶），陜西长安人。所作多关陜（陜西省地区）一带景致，峻拔雄浑，画史评论其画谓：「笔愈简而气愈壮，景愈少而意愈长。」（许郭璜）