书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸诗塘纸

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：宜子孙
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宝笈三编
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：吴廷

题跋资料:

题跋类别：作者款识；作者：王蒙；题跋位置：本幅；款识：具区林屋；书体：隶书；全文：

题跋类别：作者款识；作者：王蒙；题跋位置：本幅；款识：叔明为日章画；书体：楷书；全文：

题跋类别：题跋；作者：董其昌诗塘董其昌记；书体：行书；全文：夏日吴用卿。携黄鹤山樵画至馀斋中。同陆君策。陈仲醇。诸德祖。朱叔熙观。董其昌记。

题跋类别：题跋；作者：董其昌诗塘其昌又题；书体：行书；全文：具区林屋。人间有数轴。此其真蹟也。其昌又题。印记：知制诰日讲官、董其昌印

主题:

主要主题：山水秋景 ；次要主题：人物高士（士人、隐士） ；次要主题：人物侍从（侍女、童仆）童仆；次要主题：船筏（木．竹） ；其他主题：树木  ；其他主题：建筑房舍 ；其他主题：树木枫树．槭树枫树；其他主题：器用家俱（屏风）桌、椅；其他主题：建筑茅草屋 ；其他主题：山水山径 ；其他主题：山水江河、湖海湖海；其他主题：人物仕女 

技法:

皴法 

参考资料:

收藏着录： 石渠宝笈三编（御书房），第七册，页3088 收藏着录： 故宫书画录（卷五），第三册，页210 收藏着录： 故宫书画图录，第四册，页375-376 收藏着录： 国宝的形成-书画菁华特展，页230-235、322 参考书目： 1.蒋复璁，〈王蒙具区林屋〉，收入国立故宫博物院编，《元四大家》（台北：国立故宫博物院，1975年初版，1976年二版，1984年三版），页70-71。2.高木森，〈王蒙「具区林屋」是一幅假画吗？ — 敬答读者来函兼论「完形鉴定」法〉，《故宫文物月刊》，第76期（1989年7月），页90-95。 内容简介（中文）： 王蒙（西元一三０八－一三八五年），吴兴（浙江湖州）人。字叔明，号黄鹤山樵，赵孟頫外孙。画风以王维、董、巨为宗，但能自立面目，为元四大家之一。 本幅描绘太湖林屋洞之景色，洞壑玲珑，溪畔村舍水榭错落。山石以干笔牛毛皴皴擦，用笔熟练多变。树叶以赭石、藤黄、朱砂等点染，遂使秋意满幅。全作用笔用色，俱至神妙。山石树木层叠充塞，构图几乎密不透风，但无迫塞之感。 内容简介（英文）： Wang Meng was a grandson of Chao Meng-fu. He followed the styles of Wang Wei, Tung Yüan, and Chü-jan and established one of his own, becoming one of the Four Great Masters of the Yüan. This painting represents the scenery around the Forest Chamber Grotto at Lake T'ai. This fascinating grotto is filled with twisting rock forms as a stream, buildings, and figures are scattered throughout. The landscape was rendered in dry "ox-tail" texture strokes, revealing the maturity and variety of Wang's brushwork. The leaves were washed with ochre and red for a sense of autumn. The use of brush and color add spirit to the work. Layers of hills and trees fill the composition almost completely, yet it still retains a buoyant atmosphere. 网页展示说明 王蒙，吴兴（浙江湖州）人。字叔明，号黄鹤山樵、香光居士，是赵孟頫（1254－1322）的外孙。明初因胡惟庸案受到牵连，死于狱中。画风以王维（701－761）、董源（活动于十世纪上半叶）、巨然（十世纪）为宗，但能自立面目，与黄公望（1269－1354）、吴镇（1280－1354）和倪瓒（1301－1374）齐名，合称为「元四大家」。 这件画作描写江苏太湖林屋洞之景色。玲珑的洞壑、层叠的山石、繁密的树林、错落的村舍和粼粼水波填满了整幅画面，大胆地摆脱了自然景象的拘囿。全作的构图几乎密不透风，但因画家有虚实相济的观念，故在画幅的左上角营造出「透」的部分，使得全作毫无迫塞的感觉。王蒙用牛毛皴皴擦山石，长披麻皴画树干，又杂以繁密的苔点，笔法变化多端，细腻丰富。墨色层层点染，浓淡分明，同时又用了赭石、藤黄、朱砂和朱标点染，使得全作秋意满幅。（李玉珉） 网页展示说明 Wang Meng, a native of Wu-hsing (modern Hu-chou, Chekiang), was a grandson of the famous artist Chao Meng-fu (1254-1322). In the early Ming, Wang Meng was implicated in the case of Hu Wei-yung and subsequently died in prison. His painting followed the styles of Wang Wei (701-761), Tung Yuan (fl. 1st half of 10th c.), and Chu-jan (10th c.), and he established a style of his own, becoming one of the Four Great Masters of the Yuan along with Huang Kung-wang (1269-1354), Wu Chen (1280-1354), and Ni Tsan (1301-1374). This painting represents the scenery around the Forest Chamber Grotto at Lake T'ai. The fascinating grotto, layers of twisting landscape forms, dense trees, scattered buildings, and waves fill the surface of the painting, presenting a bold interpretation that goes beyond the appearance of the natural scenery. The composition is so dense that it appears almost claustrophobic. However, Wang Meng cleverly manipulated the areas of form and void to create a visual passage in the upper right corner. Thus, the view extends into the background and opens the composition to prevent a closed atmosphere. Wang used "ox-tail" texture strokes to delineate the landscape forms and long "hemp-fiber" strokes for the tree trunks. Combined with the dense "moss" dots, the brushwork is notable for its variety and finesse. Layers of ink washes were also added to create a distinction between light and dark. Finally, Wang Meng used touches of ochre and red to provide this painting with an aura of autumn.