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：养心殿鑑藏宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：蕉林
收传印记：观其大略

题跋资料:

题跋类别：作者款识；作者：倪端；题跋位置：本幅；款识：倪端写；书体：草书；全文： 印记：日近清光、半窗明月、锦衣千户之章

题跋类别：题跋；作者：张诰；题跋位置：本幅；款识：东吴张诰题；书体：行楷书；全文：楚山青。楚水碧。两岸蒹葭舞秋色。秃簑方笠跣足翁。一罾长占矶头立。年来官府多循良。鱼租无吏催门傍。桓圭簪组不尔贵。黄茅矮屋甘荒凉。高风追踵子陵躅。肯食官家升斗粟。翻嫌四皓出商山。白发高年犹碌碌。老翁之意奚在乎。阅历往古成嚱嘘。朝贵显。夕丘墟。何如老翁业在渔。得鱼贳酒醉且呼。俯仰天地百虑无。沧浪一曲长呜呜。东吴张诰题。印记：二十八宿中人

主题:

主要主题：器用耕织渔猎渔篓、钓鱼竹台、渔网等渔具主要主题：花草芦苇 主要主题：山水江河、湖海 ；次要主题：山水奇石 ；次要主题：人物渔夫、船夫 ；其他主题：水中动植物鱼 ；其他主题：器用服饰（对人）簑衣；草鞋；斗笠；其他主题：山水  

技法:

双钩 皴法 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： 石渠宝笈初编（养心殿），上册，页660 收藏着录： 故宫书画录（卷五），第三册，页308 收藏着录： 故宫书画图录，第六册，页177-178 参考书目： 1.〈明倪端捕鱼图〉，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174。 内容简介（中文）： 倪端（西元十五世纪），杭州人。字仲正。宣德中征入画院，任职正千户。善画道释人物，山水宗南宋马、夏。 此轴人物形象真实生动，渔罟、竹篓、岸边?葭矮荻?画细致，充份营造出江南乡间水际草木荣滋茂盛之状。山水采马、夏「斜角式构图」，皴法则为李、郭「卷云皴」。画面左方繁富详细的景物，恰与右边江水的空旷虚迷形成强烈对比。 内容简介（中文）： 倪端，于明宣宗时，值仁智殿。嘉兴人，字文初，工写眞，兼善山水。 溪滨衰苇疏落，渔人蓑笠攀罾，觉秋浦凝霜，有逼人寒气。明院派画大抵皆从南宋院画出，惟用笔鼓努为力，用墨特多湿笔，变化层次不多，遂有毫厘千里之别，盖亦一时风气使然。 内容简介（英文）： Netting Fish Ni Tuan (mid-fifteenth century) Ming dynasty Ni Tuan was a painter in the Imperial employ during the Hsüan-te reign (1426-1435). He was a native of Chia-hsing, Chekiang province, and his style name was Wen-ch’u. He was a good painter of portraiture and of landscapes as well. In this painting, reeds spread along a river bank and droop into the water.A fisherman, wearing his bamboo hat and straw raincoat, hauls up his net. Autumn frost has bitten deep into the earthen bank and the icy air assails the fisherman. Ming dynasty academy painting on the whole developed from the Sung academy style. It was characterized by extremely vigorous handling of a brush well loaded with ink; there was little variation in the quality and characteristics of the ink. Although so few differences lead to such great changes in apperance, this was a matter of the style and manner of the age. 内容简介（英文）： Netting Fish Ni Tuan (mid-15th c.) Ming Dynasty Ni Tuan, a native of Hangchow, entered the imperial painting academy in the Hsüan-te era (1426-1435) and was honored with a high rank at court. He excelled at painting Taoist and Buddhist figures, and he modeled his landscapes after those of the Southern Sung artists Ma Yüan and Hsia Kuei. This work presents a lively description of a fishing scene. The net, bamboo basket, and reeds along the banks are painted in great detail. Ni Tuan has captured the appearance of luxuriant reeds and foliage along watery banks in Kiangnan. He adopted the “one-corner” composition of Ma Yüan and Hsia Kuei and the “rolling-cloud” brushwork of Li Ch’eng and Kuo His. The detail on the right is in strong contrast with the watery emptiness on the left.