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：乾隆鑑赏
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：八征耄念之宝
鑑藏宝玺：石渠继鑑
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：无逸斋精鑑玺
收传印记：宣文阁宝
收传印记：（干卦）
收传印记：绍兴
收传印记：司印（半印）
收传印记：袁枢之印（重一）
收传印记：陈定一印

题跋资料:

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：无；书体：行书；全文：（乾隆丁亥御题。诗文不录）印记：干、隆

主题:

主要主题：山水  ；其他主题：人物官员（臣）萧翼；其他主题：佛道人物僧（和尚、尼姑）辨才和尚；另一不详；其他主题：建筑寺庙 ；其他主题：经史‧故事 萧翼赚兰亭；其他主题：山水江河、湖海 ；其他主题：人物侍从（侍女、童仆） ；其他主题：走兽骡．驴 ；其他主题：建筑桥 

技法:

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页667 收藏着录： 故宫书画录（卷五），第三册，页28 收藏着录： 故宫书画图录，第一册，页103-104 收藏着录： 明张丑清河书画舫 参考书目： 1.陈韵如，〈巨然萧翼赚兰亭〉，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47- 49。2.胡赛兰，〈巨然萧翼赚兰亭图〉，收入石守谦、葛婉章主编，《大汗的世纪:蒙元时代的多元文化与艺术》（台北：国立故宫博物院，2001年初版），页289。3.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。4.宋后玲，〈茶话‧茶画〉，《故宫文物月刊》，1卷4期（1983），页103-107。5.庄伯和，〈谈麈尾〉，《故宫文物月刊》，1卷5期（1983），页77-82。6.庄严，《山堂清话》（台北：国立故宫博物院，1980）。7.陈葆真，〈萧翼赚兰亭－谈阎立本〉，《古代画人谈略》（台北：国立故宫博物院，1978），页1-4。8.陈韵如，〈五代南唐萧翼赚兰亭图〉，收入何传馨主编，《山水合璧：黄公望与富春山居图特展》（台北：国立故宫博物院，2011年五月初版一刷），页326-327。 内容简介（中文）： 巨然（西元十纪后半叶），南唐锺陵人，开元寺的和尚。南唐被宋灭亡（西元九七五）巨然随李后主降宋，而迁至汴梁。擅画山水，画法学自董源。 这幅画描绘萧翼赚兰亭图的故事。唐太宗酷爱王羲之、王献之的书法，听说辩才和尚藏有羲之兰亭序真蹟，于是派遣御史萧翼设法谋取。翼便以书生的打扮，先与辩才交游，两人常以诗文酬答，情感融洽，渐渐地，辩才对翼不加防备。有一天，趁辩才和尚外出，翼便偷走兰亭真蹟。 内容简介（中文）： 董源、巨然为十世纪江南山水代表画家。巨然，南唐锺陵人，开元寺和尚。南唐亡，巨然随李后主降宋，迁至汴梁。此画前景绘河岸缓坡，中景一小桥连接丛林小径，山谷中院落掩映，远景群峰缭绕。峰峦林麓多矾头卵石，山石明润具光影效果，与画史记载中巨然画风相类，属巨然风格的宋人画。画中建筑僧人活动其中，有论者据此认为本幅绘唐太宗遣萧翼赚兰亭序真蹟的故事。 内容简介（中文）： 此作自明末以来即传为南唐入宋画僧巨然之作。后世一般以巨然师法董源，但据早期文献，巨然在开封宫廷时曾为翰林学士院作山水屏风，却是使用华北的李成风格。 直立而简朴的山间群木、深浓墨点的树丛植被、峰顶与河畔出现的大小卵石，都显示着巨然风格的特征。画中略带折角的峰顶样式，尤与董源之圆浑缓丘不同，其古意则符合北宋早期文献所记。或因画中建筑院落中确有僧人活动其间，故其主题想来被指为萧翼赚兰亭故实，但是否正确，仍待进一步考察。(20061206) 内容简介（英文）： Since the late Ming dynasty, this work has been attributed to the monk-painter Chü-jan, who followed the submission of the Southern T'ang to the Sung. Later generations generally considered Chü-jan as a follower of the style of Tung Yüan. However, according to early records, Chü-jan at the court in K'ai-feng did landscape screen paintings at the Hanlin Institute of Academicians in the northern style of Li Ch'eng rather than the southern one associated with Tung Yüan. Groves of trees among plain and vertical peaks, dark ink dots defining trees and vegetation, and rounded rock forms in various sizes define the landscape of peaks and a riverbank, being all typical features associated with the Chü-jan style. The slight angularity to the peak tops, however, differs in particular with the gentle rolling hill forms of Tung Yüan. theless, the archaic effect here conforms to records in early Northern Sung texts. Perhaps because of the monk activities in the courtyard, it probably reminded someone of the story of Hsiao I traveling to the temple of the monk Pien-ts’ai to steal the precious Lan-t'ing (Orchid Pavilion) calligraphy for the T'ang emperor T'ai-tsung. However, this is uncertain and requires further study.(20061206) 内容简介（英文）： Tung Yüan and Chü-jan were major Kiangnan landscape artists. The latter, native to Chung-ling, was a monk at K’ai-yüan Temple. He followed the Southern T’ang ruler, Li Hou-chu, in surrendering to the Sung, moving to Pien-liang. The foreground here depicts gentle slopes by a river, the bridge in the middle connecting to a forested path. In the valley is a shaded courtyard with trees on clustered peaks in the distance. Peaks and foothills mostly reveal alum lumps, the land having a moist, luminescent quality similar to records of Chü-jan’s style; this a Sung (960-1279) work in his manner. Some scholars believe the monks here illustrate the story of Emperor T’ai-tsung sending Hsiao I to steal the Lan-t’ing masterpiece of calligraphy by Wang Hsi-chih. 内容简介（英文）： The monk Chü-jan, a native of Nanking, excelled at painting misty landscapes in ink. This scroll illustrates a famous incident in Chinese calligraphy. Wang Hsi-chih's masterpiece, The Orchid Pavilion Preface, had been lost for years. It was discovered by Emperor T'ai-tsung (r. 627-649), a devotee of Wang's style, to be in the possession of the old monk, Pien-ts'ai. Hsiao I, an imperial official ordered to retrieve the masterpiece, disguised himself and called upon the monk. Hsiao I intentionally showed him superb examples of calligraphy, tricking Pien-ts'ai into revealing the whereabouts of the Preface. Seizing the chance, Hsiao I stole the masterpiece and he took it back to the capital, where he presented it to the Emperor. 网页展示说明 巨然活动于十世纪后半，南唐锺陵人，随李后主北上汴京而画名大盛。画上钤元顺帝鉴藏印「宣文阁宝」，属元人所认识的巨然风格之一。画作描绘群峰高低环绕山间谷地，明人推测此为唐人巧取〈兰亭序〉真迹的故事。画中丛树枝干多简朴线条，两侧再加墨点。不论是高低相倚的山峰，或河岸水际，皆有大小圆弧石块一再出现。此类江南风格的重要母题，因黄公望等元代后续者运用，遂成重要古代典范。(20110609) 网页展示说明 Juran, a native of Zhongling in the Southern Tang, was active in the latter half of the tenth century and accompanied the ruler Li Houzhu in going north to the Song capital of Bianjing, becoming a famous painter at the time. This painting has the collection seal of Emperor Shundi (Toghan-Temür) of the Yuan, ''Treasure of the Xuanwen Pavilion,'' making it one of the works by which Juran's style was known in the Yuan dynasty. The work depicts a group of high and low peaks surrounding a mountain valley, which in the Ming dynasty was considered to illustrate the Tang dynasty story of Xiao Yi getting the ''Orchid Pavilion Preface'' original by means of deception. The branches of the trees here are mostly done as unadorned lines with dots added to either side. Both the high and low peaks supporting each other and the watery expanse by the riverbank appear with arcing rocks of various sizes. This important motif in the Jiangnan style, which was continued by such later Yuan artists as Huang Gongwang, became an important paradigm from antiquity.(20110609) 网页展示说明 10世纪后半に活动した巨然は南唐锺陵の人で、李后主に随って北方の卞京へ移り、画家としてその名を轰かせた。画上には元顺帝の鑑蔵印「宣文阁宝」があり、元人が认めた巨然の画风の一つに属する。本作には、山间の洼地を取り囲む高低不揃いの郡山が描かれている。明人は、唐人が「兰亭序」の真蹟を首尾よく骗し取った场面を描いたものと推测している。本作に描かれた树木の多くが简素な线で表现され、両侧に墨点が加えてある。高低まばらな山々のほか、川岸にも大小异なる円弧形の岩石が多数描かれている。このような江南の画风に见られる重要なモチーフは、黄公望など元代の画家も用いたため、しだいに古代山水画の重要な典范の一つとなった。(20110609)