书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

元顺帝至元四年（1338）

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：重华宫鑑藏宝
鑑藏宝玺：乐善堂图书记
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：司印（半印）
收传印记：苍巖
收传印记：蕉林居士

题跋资料:

题跋类别：作者款识；作者：唐棣；题跋位置：本幅；款识：至元又戊寅（西元一三三八年）冬十一月。吴兴唐棣子华作。；书体：行书；全文： 印记：唐棣、唐氏子华

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：丁亥仲春月御题；书体：行书；全文：罾罩笭箵负一肩。呼朋沙岸捕鱼旋。太湖设遇天随子。问在诗中第几篇。丁亥仲春月御题。题籤清高宗题籤   印记：乾隆宸翰

主题:

主要主题：山水  主要主题：人物渔夫、船夫三人主要主题：树木寒林．枯树 主要主题：树木松 ；其他主题：器用耕织渔猎渔；其他主题：山水溪涧、湍泉 

技法:

写意 

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页793 收藏着录： 故宫书画录（卷五），第三册，页186-187 收藏着录： 故宫书画图录，第四册，页225-226 参考书目： 1.许郭璜，〈元唐棣霜浦归渔图〉，收入《李郭山水画系特展》（台北：国立故宫博物院，1999年初版），页49-52。2.陈阶晋，〈唐棣霜浦归渔图〉，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307。3.高木森，〈唐棣其人其画〉，《故宫季刊》，第八卷第二期（1973年冬），页43-56。4.林莉娜，〈元唐棣霜浦归渔图〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页310。 内容简介（中文）： 唐棣（约西元一二八七至一三六四年），浙江吴兴人。字子华，晚号遁斋。画山水初学赵孟頫，后兼法韦偃、李成、郭熙，其中对郭熙用功最深。本幅绘渔翁三人，肩负网罟渔具，且行且语，满载而归。画近景乔木所用之蟹爪枝与画坡石之云头皴，均传承自郭熙，而整体布局之平远法，则源于李成。幅左款署至元戊寅（一三三八），时正值唐氏盛年，故笔笔劲挺，诚为其平生杰作。 内容简介（英文）： T'ang Ti, a native of Chekiang, initially studied the landscape style of Chao Meng-fu, but later also turned to the styles of Wei Yen, Li Ch'eng and Kuo Hsi. His greatest achievements, however, were as a follower of the Kuo Hsi tradition. Here, three fishermen carry their gear as they converse while walking along a frosty bank. The crab-claw branches of the trees and cloud-head texturing of the slope in the foreground both derive from the style of Kuo Hsi. The flat distance composition, however, is from that of Li Ch'eng. The artist's inscription at the middle left dates the work to 1338, making it mature work. This is one of T'ang Ti's masterpieces marked by a powerful brush and composition. 网页展示说明 唐棣（约1287？1355年），字子华，晚号遁斋。吴兴人。幼聪颖，年方弱冠，诗画均为乡人推重。初画山水学赵孟頫，得其华润森郁之趣。继窥郭熙，晚纵笔入韦偃，而其中对郭熙用力最深。 画松树二株，挺峙几达于顶端，枯树三株左右偃仰横斜，秋树四株穿错杂于其中。渔夫三人，背着网罟负荷渔具，边走边谈笑。中段为岚雾横隔，虚淡杳远。石头用云头皴，坡则略带披麻，干笔为多，运笔虽微用侧势，然大皆出以中锋，轮廓线条均匀，故觉圆厚。巨石下缘近水处不施勾皴，形成上丰下锐，并状水气空蒙，此乃法郭熙「早春图」。背景用淡层层托染，墨色丰郁，使主景更显突出。 网页展示说明 T'ang Ti, a native of Chekiang, initially studied the landscape style of Chao Meng-fu, but later also turned to the styles of Wei Yen, Li Ch'eng and Kuo Hsi. His greatest achievements, however, were as a follower of the Kuo Hsi tradition. Here, three fishermen carry their gear as they converse while walking along a frosty bank. The crab-claw branches of the trees and cloud-head texturing of the slope in the foreground both derive from the style of Kuo Hsi. The flat distance composition, however, is from that of Li Ch'eng. The artist's inscription at the middle left dates the work to 1338, making it mature work. This is one of T'ang Ti's masterpieces marked by a powerful brush and composition. 网页展示说明 唐棣（约1287－1358），字子华，湖州归安（今浙江吴兴）人。本幅绘秋末湖滨渔翁肩负网罟，满载而归的欢乐情景，反映渔民的生活。近景高昂挺拔的松柏宛如双龙腾空，偃仰横斜的秋树夹杂其中，成功诠释李成寒林的蟹爪枝，不过却无郭熙云头皴的实体感。唐棣曾在江浙、皖南作官，将孤寂萧瑟的李郭寒林转化成浓厚的庶民生活气息，此类画风深受权贵赏识，在元代李郭画派的传承上立有一席之地。(20110913) 网页展示说明 Tang Di (style name Zihua) was a native of Gui’an in Huzhou (modern Wuxiang, Zhejiang). This painting depicts fishermen hauling their nets along a lakeshore in late autumn. This merry scene of returning from a rewarding outing reflects the ideal life of fishermen. The towering pine and cedar trees in the foreground look like two dragons soaring up to the sky with autumnal trees mixed in to emerge here and there. This work is a successful interpretation of the “crab-claw” branches in the wintry trees of Li Cheng’s painting, though it lacks the volumetric sense of Guo Xi’s “cloud-head” texture strokes. Tang Di once served as an official in Zhejiang and Wannan, transforming the bleak and desolate wintry trees of the Li Cheng and Guo Xi manner into animated scenery rich with the everyday life of ordinary people. This type of painting style was greatly appreciated by officials at the time, enjoying considerable status in the Li-Guo School of the Yuan dynasty.(20110913)