书体:

色彩:

水墨

装裱形式:

轴

创作时间:

元顺帝至正二十六年（1366）

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：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：太原王氏
收传印记：长安

题跋资料:

题跋类别：作者款识；作者：倪瓒；题跋位置：本幅；款识：枫落吴江独咏诗。九峰三泖酒盈。杨梅盐雪调冰夗皿。夏簟开图慰所思。至正丙午（西元一三六六年）秋。永贞架阁。自吴城复还吴松之袁部场。因写此图赠别。又为之诗。瓒。；书体：行楷书；全文：

题跋类别：题跋；作者：王汝玉；题跋位置：本幅；款识：吴下王汝玉；书体：楷书；全文：清閟高人一散仙。尚留遗墨世间传。当时曾写相思意。谁信如今重惘然。吴下王汝玉。印记：玉堂清趣、青山白日

主题:

主要主题：山水  主要主题：树木  ；次要主题：山水江河、湖海 ；次要主题：建筑亭 ；其他主题：建筑桥 

技法:

皴法披麻皴皴法折带皴苔点 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1111 收藏着录： 故宫书画录（卷五），第三册，页218-219 收藏着录： 故宫书画图录，第四册，页287-288 参考书目： 1.蒋复璁，〈倪瓒枫落吴江图〉，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53。 内容简介（中文）： 倪瓒（西元一三0一—一三七四年）江苏无锡人，字元镇，号云林、迂翁。家富饶，筑清閟阁，蓄古书画，尤善山水，为元四大家之一。 本幅作于至正丙午（一三六六年）秋，倪氏时年六十六岁。云林画着意无多，而笔墨极为秀挺。此幅构图，一河两岸，树亭前后临水，清虚空旷，坡石以折带皴，用笔中锋转侧，皴多染少，故皴笔特觉清劲。 内容简介（中文）： 倪瓒（西元一三○一—一三七四年）江苏无锡人，字元镇，号云林、迂翁。家富饶，筑清閟阁，蓄古书画，尤善山水，为元四大家之一。 本幅作于至正丙午（一三六六年）秋，倪氏时年六十六岁。云林画着意无多，而笔墨极为秀挺。此幅构图，一河两岸，树亭前后临水，清虚空旷，坡石以折带皴，用笔中锋转侧，皴多染少，故皴笔特觉清劲。(20121016) 内容简介（英文）： Ni Zan (style name Yuanzhen, sobriquets Yunlin and Yuweng) was a native of Wuxi in Jiangsu. From a wealthy family, Ni collected antique calligraphy and painting, building the Qingbi Pavilion. He particularly excelled at landscapes, being known as one of the “Four Yuan Masters.” This work was done in the autumn of 1366, when Ni was 66 by Chinese reckoning. Ni’s works tend to be succinct, his use of brush and ink elegant and upright. The composition here uses two shores divided by a river. A few trees and a pavilion are placed in front by the water, followed by pure void, and the slopes are rendered with “bent band” texture strokes. Ni Zan used a turning slanted brush for much texture but little ink, making the strokes appear especially pure and strong.(20121016) 内容简介（英文）： Ni Tsan's subject matter is very simple, but the brushwork is superb: the spacious, expansive composition consists only of a river, two banks, and some trees and a pavilion at the water's edge. The land masses are executed in stratified texture-strokes whereby the end of the brush is rolled downward sideways. Washes are little used, further lending a feeling of strength to the texture strokes. The painting was done in the autumn of 1366,when Ni Tsan was sixty-five years old. One of the "Four Masters of the Yüan Dynasty," he was noted for his landscapes. From a wealthy family in Wu-hsi, Kiangsu, Ni Tsan collected antique calligraphic works and paintings and built a garden pavilion called Halcyon Seclusion. Style named Yüan-chen, he also went by the sobriquets Yün-lin, or Cloud Forest, and Yü-weng, or Daft Old Man.