书体:

色彩:

水墨

装裱形式:

轴

创作时间:

明世宗嘉靖十四年（1535）

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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：干清宫鑑藏宝
鑑藏宝玺：嘉庆御览之宝
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：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：汾阳鉴定
收传印记：（一印不可辨）

题跋资料:

题跋类别：作者款识；作者：文征明；题跋位置：本幅；款识：嘉靖乙未（西元一五三五年）端阳日。征明倣王叔明笔意作。；书体：楷书；全文： 印记：征、明

题跋类别：题跋；作者：董其昌边幅董其昌题 文待诏倣黄鹤山樵。几欲乱真。董其昌题。印记：董其昌印

主题:

主要主题：山水  ；其他主题：建筑篱笆、围墙 ；其他主题：建筑桥 ；其他主题：建筑亭 ；其他主题：建筑茅草屋 ；其他主题：建筑房舍 ；其他主题：花草藤萝 ；其他主题：树木杨柳 ；其他主题：树木松 ；其他主题：器用文玩（琴棋书画）琴、书；其他主题：器用家俱（屏风）桌椅窗帘；其他主题：山水山径 ；其他主题：山水瀑布 ；其他主题：人物侍从（侍女、童仆）童仆；其他主题：人物高士（士人、隐士）士人；其他主题：树木  ；其他主题：山水石磴、栈道石磴；其他主题：山水溪涧、湍泉 

技法:

工笔 皴法披麻皴人物衣纹描法(减笔) 

参考资料:

收藏着录： 石渠宝笈续编（干清宫），第一册，页417 收藏着录： 故宫书画录（卷五），第三册，页386 收藏着录： 故宫书画图录，第七册，页79-80 参考书目： 1.江兆申，〈文征明仿王蒙山水　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310。 内容简介（中文）： 文征明（西元一四七０－一五五九年），长洲（今江苏苏州）人。初名壁，字征明，后以字行。亦字征仲，号停云生、衡山居士。诗文书画并佳，画师沈周，为明四大家之一。 成于嘉靖乙未（一五三五），为文征明六十六岁之作。本幅画叠峦飞瀑，山溪蜿蜒。全作景密而笔松，意精而蹟放，清奇浑厚。此帧纸狭而长，构景重叠而繁复。征明晚年好作此种，晚期吴派亦多受此影响。 内容简介（中文）： 五月五日，倣王蒙山水轴。此幅构景重叠而繁复，略似沈周庐山高，而庐山高为宽纸短幅，其中时以云水隔断，此帧纸狭而长，峰峦晴爽，故更觉繁密重叠也。征明晚年好作此种，晚期吴派亦多受此影响。结顶一山，石纹勾勒，甚为奇特，董其昌山水，常在群山中一两处作奇石，盖亦自此出。此帧董其昌旁题云：「文待诏倣黄鹤山樵，几欲乱眞」，是出自由衷之讚语。此帧景密而笔松，意精而蹟放，清奇浑厚，兼而有之。是大家悉力之作。 内容简介（中文）： Landscape after Wang Meng Wen Cheng-ming (1470-1559) Ming Dynasty This handscroll was painted after Wang Meng’s landscape style. The composition is overlapping and very intricate, resembling Shen Chou’s “Lofty Mt. Lu.” But “Lofty Mt. Lu” is a short painting on wide paper. This is a long painting on narrow paper. Shen Chou’s composition is also interspersed with clouds and water throughout, while Wen Cheng-ming’s presents pointed hills and peaks in a refreshingly clear sky, providing an even greater feeling of density and intricacy. Wen Cheng-ming enjoyed painting this type of work late in his life, and the painters of the late Wu School were greatly influenced by it. A stone atop one of the mountains in this painting is executed in outline, a unique characteristic of Wen Cheng-ming’s which was the source of inspiration for Tung Ch’i-ch’ang’s odd rocks commonly placed in one or two spots amid many mountains. In a colophon on the side Tung Ch’i-ch’ang writes, “In imitating Wang Meng, Editorial Assistant Wen’s paintings could almost be mistaken for originals. The painting is intimate, the brushwork relaxed, and the idea is refined and free. The scene possesses strange and confused elements which Wen Cheng-ming has managed to unite. 内容简介（英文）： Landscape after Wang Meng Wen Cheng-ming (1470-1559) Ming Dynasty Wen Cheng-ming was a native of Soochow who excelled at poetry, prose, calligraphy, and painting. For the latter, he studied under Shen Chou. Wen later became known as one of the Four Great Masters of the Ming. This work, Painted by Wen in 1535 at the age of 65, shows layers of mountain forms with a cascade falling in the background to the stream in the middle-and foreground. The dense scenery and loose brushwork reveal a pure yet solid effect that captures the essence through form. This scroll is tall and narrow with a complex composition layered high. Wen Cheng-ming often did such works in his later years. Late Wu School painting was also strongly influenced by them.