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：御书房鑑藏宝
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：真赏
收传印记：珍祕
收传印记：宜尔子孙
收传印记：汉水耿会侯书画之章
收传印记：丹诚
收传印记：琴书堂
收传印记：都尉耿信公书画之章
收传印记：公
收传印记：信公珍赏
收传印记：太原颛菴王氏拙修堂收藏图书

题跋资料:

题跋类别：作者款识；作者：沈周；题跋位置：本幅；款识：山静似太古。人情亦澹如。逍遥遣世虑。泉石是安居。云白媚厓客。风清筠木虚。笠屐不限我。所适随丘墟。独行固无伴。微吟韵徐徐。沈周。；书体：行书；全文： 印记：启南、石田、白石翁

主题:

主要主题：山水  ；次要主题：人物高士（士人、隐士） ；次要主题：建筑桥 ；次要主题：树木寒林．枯树枯树；次要主题：山水溪涧、湍泉 ；次要主题：山水江河、湖海 ；其他主题：树木  ；其他主题：器用枴杖 

技法:

写意 皴法披麻皴人物衣纹描法(减笔) 苔点 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1142 收藏着录： 故宫书画录（卷五），第三册，页318 收藏着录： 故宫书画图录，第六册，页211-212 参考书目： 1.江兆申，〈沈周策杖图　轴〉，收入国立故宫博物院编，《吴派画九十年展》（台北：国立故宫博物院，1975年初版，1976年再版，1981年三版），页297。2.李玉珉，〈「天子之宝 — 台北国立故宫博物院的收藏」展品系列(四) — 绘画〉，《故宫文物月刊》，第247期（2003年10月），页35。3.李霖灿，〈山水画中点景人物的断代研究〉，《故宫季刊》，第十三卷第二期（1978年冬），页25-40。 内容简介（中文）： 沈周（西元一四二七－一五０九年），长洲（今江苏苏州）人。字启南，号石田，又号白石翁。为人宽厚有大度，能诗文，善书法，又长山水，并兼工墨画花果、翎毛等。　溪山间，一人策杖而行。全作构图简约，笔墨简澹，颇具倪瓒清逸之趣，惟用笔雄健，苍劲浑厚，仍见石田本色。题识书法与本院所藏沈氏乙巳（一四八五）年重题「参天特秀」图近似，推测此乃沈氏五十九岁左右之作。 内容简介（中文）： 沈周（1427－1509），长洲（今江苏苏州）人。字启南，号石田，又号白石翁。为人宽厚有大度，能诗文，善书法，又长山水，并兼工墨画花果、翎毛等。　溪山间，一人策杖而行。本幅以河水来分隔画面，形成三段式构图。笔墨简澹，颇具倪瓒清逸之趣，惟用笔雄健，苍劲浑厚，仍见石田本色。题识书法与本院所藏沈氏乙巳年（1485）重题〈参天特秀〉图近似，推测此乃沈氏五十九岁左右之作。(20110913) 内容简介（英文）： Shen Zhou (style name Qi’nan; sobriquets Shitian and Baishiweng) was a native of Changzhou (modern Suzhou, Jiangsu). Known for his magnanimous character, he was also accomplished at poetry and prose while excelling at calligraphy. He specialized in painting landscapes as well as flowers, fruits, and animals in monochrome ink.A scholar carrying a staff ambles along a path beside a stream in a mountainous landscape. The arrangement and brushwork have been pared down to a river dividing the scenery, creating a tripartite composition. The simple brushwork has much of the untrammeled purity of Ni Zan’s manner. The powerful and hoary brush strokes, however, clearly reveal Shen’s own style. The calligraphy of Shen’s inscription here is similar to that on his “Virtue Reaching to Heaven” (dated to 1485) in the National Palace Museum collection, suggesting that this work was done around the age of 59.(20110913) 内容简介（英文）： Shen Chou, a native of Soochow, was an accomplished scholar, an able poet, essayist, and calligrapher, as well as an excellent painter. He was also talented at depicting such subjects as flowers-and-fruit and birds-and-animals in monochrome ink. A scholar carrying a staff ambles along a path beside a stream in a mountainous landscape. The composition and brushwork have been pared down, suggesting the untrammeled purity of the style of Ni Tsan. The powerful and hoary brush strokes, however, clearly reveal Shen’s own style. The style of Shen’s inscription here is similar to that on his Virtue Reaching to Heaven (dated to 1485) in the Museum’s collection, suggesting that this work was done around the age of 58. 网页展示说明 沈周（1427－1509），长洲（今江苏苏州）人。字启南，号石田，又号白石翁。幼时便聪颖过人，能诗文，善书法，又长于绘画。他远追董源（活动于十世纪上半叶），近师吴镇（1280－1354）、王蒙（1308－1385），但自成一家。他精于山水，并兼工墨画花果、翎毛等。 本幅采三段式构图，以河水来分隔画面，前景的树石与远景的山丘相照应，构图简约，显然脱胎于倪瓒（1301－1374）之作。但是作者不但在画面中增加了一位策杖而行的点景人物，同时用笔雄健，墨色较浓，作风苍劲浑厚，这些都是沈周的本色，与倪氏平淡清逸画风不同。王世贞评沈周画云：「谓于诸体无不擅长，独倪云林（倪瓒）笔力太过」，诚不虚妄。这件画作无年款，题识书法与本院所藏沈氏乙巳（1485）年重题「参天特秀」图近似，推测是沈氏五十九岁左右的作品。（李玉珉） 网页展示说明 Shen Chou, a native of Ch'ang-chou (modern Soochow, Kiangsu), was a clever youth who became an accomplished scholar, able poet, essayist, and calligrapher, as well as an excellent painter. In landscape painting, he reached back to the style of Tung Yuan (fl. 1st half of 10th c.) and more recent artists, such as Wu Chen (1280-1354) and Wang Meng (1308-1385), to create his own style. He was also talented at depicting such subjects as flowers-and-fruit and birds-and-animals in monochrome ink. The composition of this work is divided into three horizontal sections with the expanse of water acting as a divider between the foreground scene of trees and rocks and the distant one of hills. The abbreviated composition clearly is an adaptation on that of Ni Tsan (1301-1374), but Shen Chou has here not only added the figure of a solitary scholar walking with a staff to accentuate the composition, but also worked with darker ink and more powerful brushwork for a style that differs from the light and ephemeral one of Ni Tsan. The later critic Wang Shih-chen once wrote that Shen Chou "...could paint well in every style, except that of Ni Tsan, for which his brushwork was overdone," which does not appear exaggerated. Although this work is undated, the calligraphy of Shen's inscription here is similar to that on his Virtue Reaching to Heaven (dated to 1485) in the Museum's collection, suggesting it was done around the age of 59.