书体:

色彩:

浅设色

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：乾隆鑑赏
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宝笈三编
鑑藏宝玺：宣统御览之宝
收传印记：蔡京珍玩（墨印）
收传印记：孟津王鑨世宝
收传印记：琅玡世家
收传印记：司印（半印）

题跋资料:

主题:

主要主题：山水秋景 ；其他主题：山水江河、湖海 ；其他主题：人物高士（士人、隐士） ；其他主题：树木  

技法:

皴法披麻皴

参考资料:

收藏着录： 石渠宝笈三编（干清宫），第一册，页481 收藏着录： 故宫书画录（卷五），第三册，页24 收藏着录： 故宫书画图录，第一册，页93-94 参考书目： 1.林莉娜，〈五代南唐巨然秋山问道图〉，收入林莉娜编，《秋景山水画特展图录》（台北：国立故宫博物院，1989年十月初版），页62。2.傅申，〈巨然存世画蹟之比较研究〉，《故宫季刊》，第二第二期（1967年十月)，51-79。 内容简介（中文）： 巨然，南唐锺陵人，为开元寺僧。南唐亡（西元九七五年），随后主李煜降宋，至汴梁。工画山水，师事董源，善画烟岚景象，臻于妙境。与师齐名，并称董巨。缘溪小径蜿蜒深入，山坞中有茅屋四间，一人堂上坐，旁坐一客，庭宇肃然。屋后高山巍峙，山脊多作矾头平顶，错列其间，山石皴纹采用长披麻法。两山交接处，多作长林杂树，于庄严雄伟中，特饶山林烟霭之胜，是为其画特色。 内容简介（中文）： 巨然（活动于10世纪后半），南唐锺陵人，为开元寺僧。南唐亡后，随后主李煜降宋，至汴梁。工画山水，师事董源，善画烟岚景象，臻于妙境。与师齐名，并称董巨。缘溪小径蜿蜒深入，山坞中有茅屋四间，一人堂上坐，旁坐一客，庭宇肃然。屋后高山巍峙，山脊多作矾头平顶，错列其间，山石皴纹采用长披麻法。两山交接处，多作长林杂树，于庄严雄伟中，特饶山林烟霭之胜，是为其画特色。(20110913) 内容简介（英文）： Juran was a native of Zhongling (modern Nanjing) and a monk at the Kaiyuan Temple. After the Southern Tang was vanquished, he followed its ruler, Li Yu (Houzhu), in surrendering to the Song and going to the capital of Bianjing. Juran was good at painting landscapes, studying with Dong Yuan and excelling at hazy and misty scenery that reaches a marvelous realm. He achieved fame equal to his teacher, so they became known together as “Dong-Ju.”A narrow path follows a stream winding its way deep into a mountain glen where four thatched huts are hidden. A man sits in the center of an open room with a guest to his side, and the dwelling seems to rest in respectful silence under the mountain’s lofty dominance. Flat terraces and giant boulders are piled along the mountain ridges, and steep slopes are separated by tall trees gathered in the valleys. The rocks and mountains are done in the long “hemp-fiber” method of texturing. Where the two mountains intersect are many different trees. In the dignified majesty is a special sense of mists surrounding mountains and forests, giving this painting its character.(20110913) 内容简介（英文）： Ch'-jan was a native of the Kiangsu province and was a monk at the K'ai-y'an temple in the Southern T'ang State. When that state fell to the Sung emperor in 975, he followed Li Y', its deposed ruler, to the Sung capital at K'ai-feng. He was a skilled landscape artist who carried the style of his elder contemporary Tung Y'an (fl. 937-975) on to fresh ground. Their names are linked with Ching Hao and Kuan T'ung as the great landscape masters of the tenth century. A narrow path follows a stream, winding its way deep into a mountain glen where four thatched huts hide away. A man sits in the center of an open room, a guest at his left. The dwelling seems to rest in respectful silence under the mountain's lofty dominance. Flat terraces and giant boulders pile up along the mountains ridges. The steep slopes are separated by tall trees gathered in the valleys. Through the massive and powerful mountain forms breathe evanescent forest mists. 研究性论着： 北宋上半期的山水画，以华北地区画家居画坛的重要地位。至北宋后半期，因米芾（1051-1107）大力推崇董源（约活动于十世纪上半叶）、巨然（约活动于十世纪下半叶），江南地区的董巨画派因此逐渐受到重视。巨然师承董源，所画之景致岚气清润，平淡天真，其风格与雄健峻峭的华北画风相异其趣。本幅绘土山层叠，山形圆浑不做峻峭之崖壁，山顶有卵形巨石堆垒，名之为「矾头」。以长弧形的线条皴山画石，名之为「披麻皴」，笔势柔畅，淡墨居多，饶清润平淡之韵味。画中尚有溪流幽径，风蒲茅舍，一片江南风光。本幅是存世传为巨然作品中重要之一件，惟其收传印记「司印」之尺寸与习见者略小（注1），进而引起疑点之讨论。（林柏亭）注1：傅申，（巨然存世画蹟之比较研究），《故宫季刊》，二卷二期，（台北：国立故宫博物院，1967.10），页62—63。