书体:

色彩:

水墨

装裱形式:

轴

创作时间:

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：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
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
收传印记：棠村审定
收传印记：蕉林
收传印记：元□珍藏

题跋资料:

题跋类别：题跋；作者：杨维祯；题跋位置：本幅；款识：铁遂；书体：草书；全文：巨然不作惠崇景。秀远最爱最后春山图。危峯戴出若孤□。大树林立如千夫。杖藜谁行天姥道。酒船间出贺家湖。道人自指读书处。文璧峯前宅一区。铁遂。印记：廉夫、边梅

主题:

主要主题：山水春景 主要主题：树木寒林．枯树 ；次要主题：山水石磴、栈道栈道；次要主题：树木松 ；次要主题：建筑寺庙 ；次要主题：建筑桥 ；次要主题：建筑亭 ；次要主题：建筑台阁 ；其他主题：山水江河、湖海江河

技法:

写意 皴法 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1153 收藏着录： 故宫书画录（卷五），第三册，页250 收藏着录： 故宫书画录，第五册，页139-140 参考书目： 1.许郭璜，〈元人春山图〉，收入《李郭山水画系特展》（台北：国立故宫博物院，1999年初版），页77-80。2.〈元人春山图〉，收入国立故宫博物院编辑委员会编，《春景山水画特展图录》（台北：国立故宫博物院，1987年一月初版），页49。3.陈昱全，〈元仁春山图〉，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331。 内容简介（中文）： 皴山画树，笔法灵动天然，毫不雕饰，质朴中具冷逸幽趣。幅中山石大都呈圆弧状，以枯笔浓墨和遒劲挺捷的笔法勾勒，淡墨渲染不多或因纸质关系而年久微退去，故浓墨圆笔点苔及枯枝树则显得甚为突出，全幅散发出一股冷涩枯寂的美感。 本幅无作者名款，有学者从画上杨维祯题诗之书法风格与画中山石的轮廓线条笔意相仿，认为款题与画作皆出于一人之手。 内容简介（中文）： 此幅以枯笔浓墨和遒劲的笔法钩勒「蟹爪」寒林，结合淡墨晕染出「石如云动」的山体，显属元代李郭派山水。但从山凹、树石与远山峰顶上大量墨点看来，此作亦受董巨与二米画风的影响。画上杨维桢题诗的墨色和笔法与山石及树枝相合，推测此画即为杨维桢亲笔。诗文提及「道人自指读书处。文璧峯前宅一区」，据考杨氏书斋坐落于「文璧峯」山脚，此画或是其住所周遭山川风物的写照。(20110609) 内容简介（英文）： This painting was done with a dry brush and thick ink; strong brushwork outlines the “crab-claw” branches of wintry forests. Along with light ink washes to create mountain forms of “stones like clouds moving,” this work is clearly in the Li-Guo (Li Cheng and Guo Xi) landscape manner of the Yuan dynasty. However, judging from the numerous moss dots on the tops of the distant mountains, trees and rocks, and coves, this work also reflects the influence of the painting styles of Dong-Ju (Dong Yuan and Juran) and the Two Mi’s (Mi Fu and Mi Youren).The ink tone and brushwork of Yang Weizhen’s poetry inscribed on this work match those of the landscape forms and tree branches, suggesting that it could have actually been painted by Yang himself. The poetry mentions, “This Taoist refers to his own place of study, an area of residence in front of Wenbi Peak.” Since Yang’s studio is known to have been located at the foot of Wenbi Peak, this painting probably also depicts the landscape scenery around his dwelling.(20110609) 内容简介（英文）： This painting depicts a river flowing through a mist-filled valley. The mountain forms were outlined in heavy ink and then textured with washes and dots rather than individual strokes. In the cluster of pine trees in the lower left corner, the movement of the brush is vigorous and strong. The lines defining the buildings are strong and solid. The brushwork here, especially that for the "crab-claw" branches, is modeled after the manner of Kuo Hsi. At the top of the scroll is an inscription by Yang Wei-chen. The brushwork is archaic and the ink is rich, creating for their complementary relationship. Some scholars believe that the painting was painted by Yang Wei-chen himself.