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：嘉庆御览之宝

题跋资料:

题跋类别：题跋；作者：文征明；题跋位置：本幅；款识：征明题静菴笔；书体：草书；全文：长松郁郁映双泉。麋鹿为群五福全。尘土不生巖野静。始知平地有神仙。征明题静菴笔。印记：文征明印、衡山

主题:

主要主题：山水  主要主题：走兽鹿 主要主题：树木松 ；次要主题：山水云 ；其他主题：山水瀑布 ；其他主题：山水溪涧、湍泉 ；其他主题：树木  

技法:

写意 皴法斧劈皴皴法米点皴苔点 

参考资料:

收藏着录： 故宫书画录﹝卷五﹞，第三册，页297 收藏着录： 故宫书画图录，第六册，页113-114 参考书目： 1.〈明戴进长松五鹿〉，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169-170。2.晋介尘，〈「戴进作品展」导读 — 戴进长松五鹿〉，《故宫文物月刊》，第209期（2000年8月），页88-89。 内容简介（中文）： 此幅云泉深邃，群鹿游息松间。近景松林占画面大半，中景几乎消失，远景高山云烟飘渺。构图呈现实与虚、动与静、繁与简之对比，却又十分协调，极是活泼有趣。画树干的笔法强劲，枝叶浓淡分明；远山近石皆以长短不齐的线条层层皴写，再加轮廓线勾勒形状，并略以墨和汁绿烘染，掺揉了元代文人水墨画风的情趣。本幅无作者款印，依文征明题识，定为戴进之作。 内容简介（中文）： 戴进（西元一三八八－一四六二年），浙江钱塘人。字文进，号静庵，又号玉泉山人。画风承袭南宋马夏派与元朝李郭派，树立明代浙派山水的风格。画云泉深邃，群鹿游憩松间。近景松林占画面大半，中景几乎消失，远景高山云烟飘渺。构图呈现实与虚、动与静、繁与简之对比，极其活泼。画树干的笔法强劲，枝叶浓淡分明；远山近石皆以长短不齐的线条层层皴写，掺揉了元代文人水墨画风的情趣。(20120103) 内容简介（英文）： Dai Jin (style name Wenjin, sobriquet Jing’an), native to Qiantang, Zhejiang, followed the Southern Song Ma-Xia and Yuan dynasty Li-Guo schools to form the Zhe school landscape style. By a deep cloudy spring are deer at leisure among pines. Foreground pines occupy much of the surface, the middleground almost gone and distant lofty mountains enshrouded in cloudy mists. The composition suggests solid/void, movement/stillness, and complexity/simplicity all balanced and lively. Tree trunks are in forceful brushwork, the branches and needles clearly defined with light and dark ink. Distant mountains and foreground rocks are decorated with layered horizontal lines of varied length for a form and texture similar to Yuan literati ink painting.(20120103) 内容简介（英文）： This work depicts a herd of deer in a pine grove. The foreground trees, occupying much of the surface, are separated from the background by only a few clouds. The composition suggests solid and void, movement and stillness, and complexity and simplicity all balanced for a lively effect. The trees are done with forceful brushwork, and the branches and needles clearly defined with light and dark ink. The mountains and foreground rocks are decorated with horizontal lines arranged in layers to create form and texture. The washes of ink and green suggest the style of Yüan (1279-1368) literati. This work bears no seal or signature of the artist, but Wen Cheng-ming in his inscription in the upper left gives the name of Tai Chin.