书体:

色彩:

设色

装裱形式:

轴

创作时间:

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：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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
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：墨林项季(子章)（半印）
收传印记：（一印不可辨）

题跋资料:

题跋类别：作者款识；作者：盛懋；题跋位置：本幅；款识：武塘盛懋子昭制；书体：楷书；全文： 印记：懋夫

题跋类别：题跋；作者：姚绶；题跋位置：本幅；款识：云东逸史姚绶漫书；全文：；书体：行书；全文：月移山影照渔船。船载山行月在前。山突兀。月婵娟。一曲渔歌山月边。洞庭湖上晚风生。风搅湖心一叶轻。兰棹稳。草花新。只钓鲈鱼不钓名。云东逸史姚绶漫书。印记：沧江虹月、姚公绶氏

主题:

主要主题：山水夜景（月景） 主要主题：山水江河、湖海江、河、湖主要主题：树木松 ；次要主题：人物高士（士人、隐士）高士；其他主题：人物侍从（侍女、童仆）侍从、童仆；其他主题：人物渔夫、船夫船夫；其他主题：树木  ；其他主题：花草芦苇 ；其他主题：建筑水榭 ；其他主题：建筑房舍 ；其他主题：船  ；其他主题：器用家俱（屏风）家俱；其他主题：器用香炉．火盆香炉；其他主题：器用文房用具 

技法:

写意 界画 皴法披麻皴人物衣纹描法(匀称线条) 苔点 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1641 收藏着录： 故宫书画录（卷五），第三册，页230 收藏着录： 故宫书画图录，第五册，页47-48 内容简介（中文）： 盛懋（活动于西元一三一三—一三六二年），临安人，侨嘉兴魏塘镇。字子昭。善山水、人物、花鸟，始学陈仲美，略变其法，精绝有馀，特过于巧。山隈水曲，一人水榭凭栏，老者载书放艇而至，构景甚幽，笔亦纤秀。 内容简介（中文）： 盛懋（活动于14世纪中期），字子昭。浙江临安（今杭州）人，后迁浙江嘉兴魏塘镇，与吴镇居比邻。善画山水、花鸟、人物。初随陈琳学画，后技法渐趋成熟，遂形成其个人风格。本幅画山隈水曲，芦苇满汀，一人水榭凭栏，一人泛艇夜游。月色波光，远山相映，布局虚实、疏密有致，构景幽寂。作者以披麻皴画山石，用笔纤秀。前景的松树树干描写仔细，屈节皴皮如可触摸。 内容简介（英文）： Sheng Mao (style name Zizhao) was a native of Lin’an in Zhejiang (modern Hangzhou) and later lived in the town of Weitang in Jiaxing, Zhejiang, being a neighbor of Wu Zhen. He excelled at painting landscapes, figures and birds-and-flowers. In the beginning, he studied with Chen Lin and later gradually modified his style, creating a personal manner of his own. In this scene, the river reaches into many curves and bays along the foot of the mountains. One person leans on the railing of a pavilion over the water as an old man sits in a boat, drifting towards the bank. The moonlit waves contrast with the distant mountains, the arrangement of solid and void creating considerable variety to the density in this secluded scene. The artist has used hemp-fiber strokes to depict the landscape elements, the brushwork being very fine and elegant. The trunks of the pines in the foreground are rendered in detail, the rough gnarled surface appearing so lifelike as if one can reach out and touch them. 内容简介（英文）： Sheng Mao was a native of Lin-an, Chekiang province, who lived in Chia-hsing in the same province. His style name was Tzu-chao. He was a good painter of landscapes, figures and flowers and birds. In the beginning, he studied the art of Ch'en Lin (late 13th century) and somewhat modified his style. His work achieved much excellence with perhaps on excess of technical virtuosity.In this scene the river reaches into many curves and bays along the mountains' feet. Someone leans on the railing of a pavilion over the water. An old man with his books sits in a boat, drifting towards the bank. The composition evokes elegance and peacefulness. The handling of the brush is very elegant and delicate.