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：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：虚白室
收传印记：（二印漫漶不识）

题跋资料:

主题:

主要主题：树木杨柳 主要主题：经史‧故事 周文王渭滨访贤主要主题：人物官员（臣）周公文主要主题：人物圣贤姜太公主要主题：人物高士（士人、隐士） ；次要主题：人物军士 ；次要主题：人物侍从（侍女、童仆） ；次要主题：山水江河、湖海 ；其他主题：器用兵器 ；其他主题：器用耕织渔猎钓具、渔具；其他主题：器用家俱（屏风）皮坐垫；其他主题：走兽马 ；其他主题：山水  ；其他主题：树木  

技法:

写意 皴法斧劈皴人物衣纹描法(粗细线条) 苔点 

参考资料:

收藏着录： 故宫书画录﹝卷五﹞，第三册，页294 收藏着录： 故宫书画图录，第六册，页101-102 参考书目： 1.〈明戴进渭滨垂钓图〉，收入陈阶晋、赖毓芝主编，《追索浙派》（台北：国立故宫博物院，2008年初版一刷），页168。2.晋介尘，〈「戴进作品展」导读 — 戴进渭滨垂钓〉，《故宫文物月刊》，第209期（2000年8月），页76-84。3.廖尧震，〈我不在宫廷，就在跑路〉，《典藏古美术》，第216期(2010年9月)，页138-141。 内容简介（中文）： 此图绘周文王渭滨访贤的故事，太公望隐居垂钓于渭水之滨，文王前往拜访，邀他入朝辅政，太公予以婉拒。画上见柳塘河堤，侍骑五人，文王与钓者互揖。 此图折衷了宋末带有流动空间的对角线画面，以及一种新的趋势，将焦点放置在画面中央，其馀部分则环着焦点错置，以绵密甚至是紧凑的方式铺排至画缘。用笔健劲，皴染有立体感，树石、人物都具戴进的作风。 内容简介（英文）： This work shows King Wen of Chou paying a visit to the sage T’ai-kung on the banks of the Wei River, where T’ai-kung fished in reclusion. The two meet in mutual respect. The king invites the hermit sage to assist in government, but he politely refuses. Five figures stand to the right below the tall willows. The arrangement in this work derives from the diagonal composition of late Sung painting to suggest depth, but takes a new twist by placing the focus in the middle. The motifs surround the focus to create a scene that is dominated more by their density than open space. The brushwork is quite forceful and the texture strokes and washes have a volumetric effect. The trees, rocks, and figures are all in the style associated with Tai Chin. 网页展示说明 此图绘周文王渭滨访贤的故事，太公望隐居垂钓于渭水之滨，文王前往拜访，邀他入朝辅政，太公予以婉拒。画上见柳塘河堤，侍骑五人，文王与钓者互揖。 此图折衷了宋末带有流动空间的对角线画面，以及一种新的趋势，将焦点放置在画面中央，其馀部分则环着焦点错置，以绵密甚至是紧凑的方式铺排至画缘。用笔健劲，皴染有立体感，树石、人物都具戴进的作风。 网页展示说明 This work shows King Wen of the Chou dynasty paying a visit to the sage T'ai-kung on the banks of the Wei River, where T'ai-kung fished in reclusion. The two are shown meeting in mutual respect. The king is inviting the hermit-sage to assist him in government, but he politely refuses. Five figures stand to the right below the tall willows. The arrangement in this work derives from the diagonal composition of late Sung painting to suggest depth, but the painter has given it a new twist by placing the focus in the middle. The motifs surround the focus to create a scene dominated more by their density than open space. The brushwork is quite forceful and the texture strokes and washes have a volumetric effect. The trees, rocks, and figures are all in the style associated with Tai Chin.