书体:

色彩:

水墨

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：御书房鑑藏宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：嘉庆御览之宝
收传印记：玄赏
收传印记：坡隐
收传印记：骈邑冯（半印）
收传印记：一印漫漶不识

题跋资料:

题跋类别：作者款识；作者：沈周；题跋位置：本幅；款识：长松落落不知暑。高坐两翁无俗情。琴罢清谈犹半饷。不妨新月印溪明。长洲沈周。；书体：行书；全文： 印记：启南、白石翁

主题:

主要主题：山水  主要主题：树木松 ；次要主题：建筑亭 ；次要主题：山水江河、湖海江河；次要主题：人物高士（士人、隐士）二人；其他主题：树木  ；其他主题：器用文玩（琴棋书画）琴

技法:

写意 皴法披麻皴皴法斧劈皴人物衣纹描法(减笔) 

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319 收藏着录： 故宫书画图录，第六册，页213-214 参考书目： 1.何传馨，〈明沈周苍崖高话〉，收入何传馨、许郭璜编，《夏景山水画特展图录》（台北：国立故宫博物院，1991年七月初版），页98。2.江兆申，〈沈周苍厓高话　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299。 内容简介（中文）： 沈周（西元一四二七至一五○九年），恒吉之子，字启南，号石田，江苏长洲人。工书善诗文，画为明四大家之一。 沈周学元四家画，对吴镇用力最久，所得最深，故沈周本色画中，每每能见胎息之所自。本幅全学仲圭（吴镇），下笔圆浑而含蓄，用墨浓至而雄厚。虽布景无多，而山林清爽之气，使人就之如可挹。 内容简介（中文）： 沈周（西元一四二七－一五○九年），长洲人。字启南，号石田，亦称白石翁。山水花卉禽鱼悉入神品，工书善诗，为明四大家之一。 绢本仿吴镇，下笔草草若不经意，而笔极挺健。长松三株，两翁坐松下，旁置琴。背山高耸，崖下茅亭，阒然虚静。对山惟见山嘴，而小树旁出，其下横笔作水纹。经山林映衬，觉一片澄虚，如在眞境。画有虽着意而不能工，草率中反饶韵致者。此幅不署年款，以书画作风而论，大约在七十岁时。 内容简介（英文）： Hoary Cliffs and Lofty Phrases Shen Chou (1427-1509) Ming Dynasty This painting on silk follows the style of Wu Chen (1280-1354). The brushwork is quick and spontaneous, the strokes blunt and forceful. Two old men are seated beneath three tall pines; a lute lies to one side. Behind them is a lofty mountain with a thatched pavilion at its base, deserted and quiet. Facing the mountain is an outcropping of rock with two small trees growing from it. Below, patterns of water have been indicated with a slanted brush. The mountains and trees are placed in a clear spatial relationship, creating a smooth recession that is very realistic. The painting is strong and avoids all hint of delicate skill. On the contrary, the very spontaneity of the brush is full of resonance. The painting is not dated, but judging from the style of the painting and calligraphy, it was probably executed around 1496, when Shen Chou was 69 years old. 内容简介（英文）： Lofty Conversation on a Luxuriant Cliff Shen Chou (1427-1509) Ming Dynasty Shen Chou, style name Ch’i-nan, sobriquet Shih-t’ien was born into a distinguished and well-to-do family of Soochow scholars and artists. He did not seek an official career in government, but chose a quiet life devoted to his interests in poetry, painting and calligraphy. He is one of the Four Great Masters of the Ming. In studying the paintings of the Four Masters of the Yüan dynasty, Shen Chou paid much attention to the works of Wu Chen. Consequently he attained a profound understanding of Wu Chen’s style. Even when working in his own style, it is possible to discern the ultimate source of Shen Chou’s inspiration. Lofty Conversation on a Luxuriant Cliff was painted in the style of Wu Chen. There is variation in the use of the bursh; the ink is boldly and vigorously employed. Although the background is rendered simply, the spirit of the mountains and trees is lucidly rendered enabling one to recognize the origin of the style.