书体:

色彩:

水墨

装裱形式:

轴

创作时间:

明宪宗成化四年（1468）

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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：重华宫鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：天籁阁
收传印记：子孙世昌
收传印记：檇李
收传印记：甲观
收传印记：深山闭户
收传印记：项墨林父祕笈之印
收传印记：虚朗斋
收传印记：平生真赏

题跋资料:

题跋类别：作者款识；作者：杜琼；题跋位置：本幅；款识：薄薄澹霭吹春墟。春光着树皆荣敷。山峦晴气逼眉宇。林鸠两两相争呼。农事初作劳西陌。驾犁布榖停不得。一年耕稼方及时。从事惟勤勿少息。茆堂水阁尽幽閒。朝餐笋蕨有馀懽。陶诗韩文信手展。檐下浮云去复还。写图聊以记逸兴。墨花笔彩相斓斑。松影寂。水声潺。画在南湖白墖湾。成化四年（西元一四六八年）。蕤宾初吉。嘉禾周伯器老友。搆别业于南湖。舣舟过访。属拙笔为图以记。乃命管城。作此塞请。幷赋七古一章。鹿冠道人杜琼东原。；书体：楷书；全文： 印记：杜琼、东原

题跋类别：题跋；作者：孙承泽边幅康熙甲戌(1694)六月十日。北平孙承泽识。；书体：行楷书；全文：尝论夫翰墨沈潜。本乎情性。杜渊孝先生。少时刻厉读书。乡里以孝行称。旁及绘事。始效董巨。继仿元季诸公。而自成家数。每持方竹杖游朋旧间。筑瞻绿亭。逍遥自娱。道韵袭人。宜乎年臻大耊。而笔墨之能寿世也。此南湖草堂图。为馀箧中夜光之珠。康熙甲戌(1694)六月十日。北平孙承泽识。印记：孙承泽印

题跋类别：题跋；作者：高士奇边幅竹窗高士奇；书体：行楷书；全文：馀友退翁。多蓄古帖名绘。所制庚子销夏记传世。此帧为鹿冠道人作。暇日出示评赏。细玩跋语。甚有慕于渊孝之为人。不徒叹羨笔墨。可谓好古之深者。案头适缾荷作供。轩牖清凉。观花读画。恍对古君子也。竹窗高士奇。印记：士、奇、高詹事

主题:

主要主题：山水  ；次要主题：树木松 ；其他主题：建筑水榭 ；其他主题：器用家俱（屏风）桌椅；其他主题：建筑房舍 ；其他主题：树木杉 ；其他主题：山水瀑布 ；其他主题：山水江河、湖海 ；其他主题：人物高士（士人、隐士）士人1人；其他主题：树木  

技法:

皴法披麻皴人物衣纹描法(减笔) 苔点 

参考资料:

收藏着录： 石渠宝笈续编（重华宫），第三册，页1603 收藏着录： 故宫书画录（卷五），第三册，页302 收藏着录： 故宫书画图录，第六册，页135-136 参考书目： 1.本社，〈杜琼南湖草堂〉，《故宫文物月刊》，第41期（1986年8月），封底里。 内容简介（中文）： 杜琼（西元一三九六－一四七四年），字用嘉，号鹿冠道人，世称东原先生，江苏吴县人。从小勤奋好学，读书过目不忘。学识渊博，人品高洁，但却终身不仕。 善画山水，初师吴镇，兼学董巨和王蒙。此图考其画笔，与王绂最为接近，其用意则又远追黄公望。风格苍秀细润，老笔纵横，朴实拙逸，为士人画中佳作。画作于成化四年（一四六八），先生时年七十三岁。 内容简介（中文）： 杜琼（西元一三九六至一四七四年），字用嘉，号鹿冠道人，世称东原先生，私諡渊孝，吴县人。读书无所不通，旁及翰墨，书画皆精。 杜琼明经博学，为一时所尊。旁及丹青，遂亦巍然拔萃。考其画笔，与九龙山人最为接近。此帧用意则又远追子久。云光树影，意趣浑茫。老笔纵横，归于朴实，士人画中之绝诣也。此画作于成化四年（西元一四六八），先生年七十三岁。画经项元汴、孙承泽收藏。 内容简介（中文）： 杜琼（西元一三九六－一四七四年），字用嘉，号鹿冠道人，世称东原先生，江苏吴县人。明经博学，为一时所尊，旁及丹青，终身不仕。 此画作于一四六八年，时年七十三岁。老友周鼎构筑别业于南湖，过访属杜琼为图以记。画中云光树影，意趣浑茫。风格受元代黄公望影响，苍秀细润，老笔纵横，为文人画佳作。 内容简介（英文）： Tu Ch’iung (style name Yung-chia; sobriquet Lu-kuan tao-jen; also known as “Mr. Tung-yüan”) was a native of Wu-hsien, Kiangsu. Versed in the Classics and well studied, he was one of the most venerated scholars in his day. He also did painting in his spare time, never seeking officialdom. This work was done in 1468, at Tu’s nominal age of 73. His old friend Chou Ting built a manor at Nan-hu, and Tu Ch’iung did this work to record a trip there to visit him. Here, the clouds light up and trees shimmer for an interesting and boundless effect. The style reveals the influence of the Yüan master Huang Kung-wang, and the elegance and smoothness with the mature brushwork throughout make this a masterpiece of literati painting. 内容简介（英文）： Tu Ch’iung was a native of Wu-hsien in Kiangsu province. His style name was Yung-chia; his sobriquet Lu-kuan tao-jen. He was commonly called Tung-yüan hsien-sheng and was given the posthumous title Yüan-hsiao. A fine calligrapher and painter, he ignored no branch of learning and was an artist by avocation. In studying Tu Ch’iung’s paintings, one finds that his brush and ink are most similar to those of Wang Fu. The spirit of Thatched Hut by the Southern Lake, however, is close to the work of Huang Kung-wang. Returning to a greater simplicity, Tu Ch’iung’s work is superior to that of most of the literati of his time. This work was painted in 1468, when Tu Ch’iung was seventy-two years old. The painting was formerly in the collections of Hsiang Yüan-pien and Sun Ch’eng-che. 内容简介（英文）： Tu Ch’iung, a native of Kiangsu province, was a fine calligrapher and painter who ignored no branch of learning even as a youth. Of great integrity and learning, he chose not to serve in public office. Tu excelled at painting landscapes and first studied the style of Wu Chen (1280-1354), which he combined with those of the 10th c. artists Tung Yüan and Chü-jan as well as Wang Meng (1308-1385). In examining this work, one finds that Tu’s brush and ink are most similar to those of Wang Fu (1362-1416). The spirit here, however, is actually close to that of Huang Kung-wang (1269-1354). Returning to a greater simplicity, Tu’s work is superior to that of most literati of his time. This work was painted in 1468, when Tu Ch’iung was 72.