书体:

色彩:

水墨

装裱形式:

轴

创作时间:

明太祖洪武五年（1372）

文字类型:

质地:

本幅纸诗塘绢

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：养心殿鑑藏宝
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：高阳李霨坦园氏图书
收传印记：长白索氏珍藏图书印
收传印记：友古轩珍赏
收传印记：友古轩
收传印记：也园索氏收藏书画
收传印记：御赐忠孝堂长白山索氏珍藏
收传印记：阿尔喜普之印
收传印记：东平

题跋资料:

题跋类别：作者款识；作者：倪瓒；题跋位置：本幅；款识：壬子（西元一三七二年）岁七月五日。云林生写。；书体：行楷书；全文：

题跋类别：作者款识；作者：倪瓒；题跋位置：本幅；款识：屋角(东字点去)春风多杏花。小斋容膝度年华。金梭跃水池鱼戏。彩凤栖林涧竹斜。亹亹清谈霏玉屑。萧萧白发岸乌纱。而今不二韩康价。市上悬壶未足夸。甲寅（西元一三七四年）三月四日。檗轩翁复携此图来索谬诗。赠寄仁仲医师。且锡山予之故乡也。容膝斋则仁仲燕居之所。他日将归故乡。登斯斋。持酒。展斯图。为仁仲寿。当遂吾志也。云林子识。；书体：行楷书；全文：

题跋类别：题跋；作者：邵宝诗塘二泉山人邵宝。为复轩翁书于容春堂。甲戌十月八日。 此非容膝斋图也。图而寄诸容膝斋者也。斋以诗画重。诗画以人重。后之人以前人重。失而戚然。得而欣然。固其情哉。二泉山人邵宝。为复轩翁书于容春堂。甲戌十月八日。

主题:

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

技法:

皴法折带皴苔点 

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页646 收藏着录： 故宫书画录（卷五），第三册，页222-223 收藏着录： 故宫书画图录，第四册，页301-302 参考书目： 1.蒋复璁，〈倪瓒容膝斋图〉，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58-59。2.薛慧蓉，《倪瓒容膝齐图之研究》，国立台湾大学历史学研究所中国艺术史组硕士论文，1986年。3.苏玲怡，〈我们S4的南方忧郁　不要政治，只爱江湖—元末文人画四大家〉，《典藏古美术》，第216期(2010年9月)，页150-153。4.陈韵如，〈元倪瓒容膝斋图〉，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333。 内容简介（中文）： 倪瓒（西元一三0一至一三七四年）字元镇，号云林、迂翁。家富饶，筑清閟阁蓄古书画，善山水，为元四大家之一。 此幅成于洪武壬子（西元一三七二年），七十二岁所作。?此帧先写赠其友檗轩，檗轩藏之三年，又寄赠医师仲仁，请云林补诗，容膝斋即仲仁居处，是先有画而后有题者也。此幅笔墨极为淡雅，画树墨色层次较多，中锋多于侧笔，近坡皴多染少，皴笔亦特觉清劲。 内容简介（中文）： 倪瓒画此于壬子（洪武五年，1372），两年后题赠潘仁仲医师。此时已是明朝，倪瓒自元末江南动乱后，放弃家业飘泊于太湖将近二十年。画中描写一河两岸景致，前景坡岸略广，但空亭却更为简略。从荆关风格衍生而出的折带皴笔，既模糊了山石的轮廓分际，也改造了董源湿润浓重笔触，转化为素净的笔墨形式。黄公望于二十多年前指点倪瓒作〈六君子图〉的董源面貌，已经转化成更为精鍊的形式语汇。(20110609) 内容简介（英文）： Ni Zan painted this work in 1372 during the early Ming dynasty, two years later inscribing and presenting it to the physician Pan Renzhong. Then already in the Ming dynasty, Ni Zan had given up his family property and led a life of wandering the waters of the Lake Tai area for almost twenty years following the chaos of the late Yuan. This painting depicts the scene of a river with its two banks. The foreground sloping area is slightly more expansive, but the empty kiosk makes it appear even sketchier. The angular texture strokes derived from the style of Jing-Guan (Jing Hao and Guan Tong) blur the boundaries of outlines for the landscape forms. They also transform the moist and dense brush strokes of the Dong Yuan manner, in the process becoming a kind of pure and clean style. More than twenty years earlier, Huang Gongwang pointed out the appearance of Dong Yuan’s style in Ni Zan’s “Six Gentlemen,” now having become a more refined and tempered form of visual vocabulary.(20110609) 内容简介（英文）： Ni Tsan (tzu Yüan-chen, hao Yün-lin, Yü-weng) was a native of Wu-hsi, Kiangsu. Son of a wealthy merchant, he was a bibliophile, collector, amateur poet and painter. He remained aloof of any official commitment and spent the later part of his life wandering the streams and lakes of his native province. This painting was executed when the artist was 72 years old. The colophon states that the painting was first given to Ni's friend Pi-hsüan, who kept it for three years and then gave it to his physician friend Chung-jen, who asked the artist to inscribe a poem. Jung-hsi was the residence of the physician, who first received the painting and then the inscription. The brushwork is especially bland and refined, with tonal variations in the trees most carefully built up. An upright brush with point-centered energy has been employed more often than a slanted brush and broken hemp-fibre strokes are more frequent than washes in the modeling of the rocks.