书体:

色彩:

设色

装裱形式:

轴

创作时间:

元顺帝至正三年（1343）

文字类型:

质地:

本幅纸

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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
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
收传印记：白石翁
收传印记：吴氏家藏
收传印记：征仲
收传印记：包山子
收传印记：唐氏家藏
收传印记：天籁阁
收传印记：墨林山人
收传印记：项子京家藏

题跋资料:

题跋类别：作者款识；作者：王蒙；题跋位置：本幅；款识：东山草堂。（篆书）。至正三年（西元一三四三年）四月望日。为东山良友画。黄鹤山樵王蒙。（行楷书）。；书体：篆书；全文： 印记：黄鹤樵者

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：己丑夏日御题；书体：行书；全文：御题行书（乾隆已丑御题。诗文不录）印记：干、隆

主题:

主要主题：山水秋景 ；次要主题：山水瀑布 ；其他主题：人物高士（士人、隐士）隐士；其他主题：山水江河、湖海 ；其他主题：树木  ；其他主题：树木松 ；其他主题：建筑亭 ；其他主题：建筑茅草屋 ；其他主题：建筑桥 ；其他主题：建筑池水 

技法:

皴法 苔点 

参考资料:

收藏着录： 石渠宝笈续编（御书房），第四册，页1975 收藏着录： 故宫书画录（卷五），第三册，页211-212 收藏着录： 故宫书画图录，第四册，页331-332 参考书目： 1.蒋复璁，〈王蒙东山草堂图〉，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64。 内容简介（中文）： 王蒙（西元一三○八至一三八五年），字叔明，号黄鹤山樵，吴兴人。赵孟頫外孙，画得赵氏法，而能自立面目，为元四大家之一。 此系山樵三十六岁（一三四三）作隔水茆堂，背山重叠，磊石、布屋、开湖，形制皆偏向于方。通幅用笔，皆切实而稳厚。虽树干钩籐，山间苔点，极细微处，均无轻踪之笔，故别有一种稳重苍郁意象。后人中如沈周，得力于此者甚多。 内容简介（中文）： 王蒙（西元一三○八－一三八五年），字叔明，号黄鹤山樵，吴兴人。赵孟頫外孙，画得赵氏法，而能自立面目，为元四大家之一。　此系王蒙三十六岁（一三四三）作。隔水茆堂，背山重叠，磊石、布屋、开湖，形制皆偏向于方。通幅用笔，皆切实而稳厚。树干钩藤，山间苔点，极细微处，均无轻纵之笔，别有一种稳重苍郁意象。后人中如沈周，得力于此者甚多。(20120103) 内容简介（英文）： Wang Meng (style name Shuming, sobriquet Huanghe shanqiao), a native of Wuxing, was a grandson of Zhao Mengfu and achieved his methods yet still was able to develop his own style, becoming one of the Four Yuan Masters. This work from the Chinese age of 36 (1343) depicts a thatched lodge separated by water and in front of towering mountains with the terrain modeling, arrangement of buildings, and even shape of the lake tending towards rectangularity. The artist’s handling of ink throughout is solid and steady. Even the vine-wrapped tree trunks and “moss” dotting of the peaks are modeled with delicacy that sacrifices nothing in terms of forcefulness. Later painters, such as Shen Zhou, also would achieve this effect.(20120103) 内容简介（英文）： Wang Meng, style name Shu-ming and sobriquet Huang-ho shan-ch'iao, was a native of Wu-hsing, Chekiang. The grandson of the famous painter Chao Meng-fu, he successfully absorbed Chao's methods, yet was able to develop his own style, eventually becoming one of the Four Masters of the Yüan. A thatched lodge lies nestled in a towering range of mountains that rises above a lake. The modeling of the terrain, the arrangement of the buildings, and even the shape of the lake tend toward rectangularity. The artist's handling of ink is solid and sure; even the vine-wrapped tree trunks and dottings of "moss" on the mountains are modeled with a delicacy that sacrifices nothing in terms of forcefulness or strength. Later painters, such as Shen Chou (1427-1509), were also able to achieve this effect. This paintng was executed in 1343 when Wang Meng was 35 years old.