书体:
色彩:
设色装裱形式:
轴创作时间:
文字类型:
质地:
本幅纸诗塘纸释文:
印记资料:
鑑藏宝玺：嘉庆御览之宝题跋资料:
题跋类别：作者款识；作者：文嘉；题跋位置：本幅；款识：文嘉；书体：草书；全文： 印记：休、承主题:
主要主题：山水名胜瀛洲（仙山）；次要主题：山水云 ；其他主题：花草藤萝 ；其他主题：建筑房舍 ；其他主题：器用文玩（琴棋书画）琴、画；其他主题：建筑桥 ；其他主题：建筑台阁 ；其他主题：山水江河、湖海 ；其他主题：人物侍从（侍女、童仆）童仆；其他主题：树木 ；其他主题：人物高士（士人、隐士）技法:
工笔 写意 皴法参考资料:
收藏着录： 石渠宝笈三编﹝延春阁﹞，第四册，页1932 收藏着录： 故宫书画录﹝卷五﹞，第三册，页395 收藏着录： 故宫书画图录，第八册，页61-62 内容简介（中文）： 山岭像巨大的石柱般从河岸陡然昇起，与近景的坡石树林俯仰呼应，中间有小桥相通，渡桥的两人正在交谈，随行的童仆抱着书和琴囊匆匆赶来。山上的楼阁屋宇像鸟巢般，隐密在丛林深处，或是被云雾团团围着，像是人迹难以到达的神祕之地。诗塘题诗末句「石梁南畔是瀛洲」，也点出画的主题是要描写道教传说中，名为「瀛洲」的海外仙山。文嘉是文征明（1470－1559）的次子，受父亲影响，也擅长诗、书法、绘画及鑑赏。虽然年轻时曾接受仕子教育，但一生没有显著功名，只在浙江、江西、安徽的地方官学中担任教职。不过他在十六世纪后期苏州的文艺圈十分活跃，是吴派后期绘画的代表画家。这幅画师法元代倪瓒（1301－1374）的作风，用干渴而不明晰的线条，描绘山石的轮廓，皴法十分简略，设色是以赭色通染山体，然后以对比的青绿色渲染凸出的山头，虽然取法于唐人的青绿山水，但改变为淡雅透明的淡青绿法。同时的友人陆治（1496－1576）画仙山时，也常用这种方式，可见一时风气。（何传馨） 内容简介（中文）： 文嘉（西元一五○一－一五八三），江苏长洲人，文征明次子。字休承，号文水。能诗工书画。山水尤精，笔墨疎秀，气韵尤其好。文嘉画出于家学，用笔比较显得潇脱些。位置经营不比父亲差。 画的是烟峦缥渺中，隐隐有一寺宇。云雾参差?又有一村聚。石梁间二人慢慢的走着。是幅很精的作品，有笔简意厚的趣味。 内容简介（中文）： 文嘉，明长洲人。（西元一五○一年至一五八三）征明仲子，字休承，号文水。能诗工书画，精山水，笔墨疎秀，而以韵胜。 文嘉画出于家学，惟用笔不守小谨，有脱略之韵，而意象经营，固不减于乃翁。此幅是其精细之作，山石皴纹，稍稍见意而已，然而蓬头粗服，自有韵态。 内容简介（英文）： On the Isles of ImmortalsWen Chia (1501-1583)Ming Dynasty Wen Chia, the second son of the noted artist Wen Cheng-ming, was a native of Ch’ang-chou, Kiangsu. His style name was Hsiu-ch’eng; his sobriquet was Wen-shui. Noted for his poetry, calligraphy and painting, Wen Chia particularly excelled in landscape. In his use of the brush and ink he preferred the harmonious to the beautiful. Wen Chia’s painting style developed from the family style. His use of the brush reveals a lack of concern for precise detail; rather his works possess an unrestrained harmony. Wen Chia’s work is equal to that of his father. The painting depicts a steep hillside bathed in mists. A temple is hidden deep in a valley, and a village emerges from layers of clouds. Two figures below slowly cross a bridge. This painting is very fine, and although the brushwork simple, the meaning profound. 内容简介（英文）： On the Isles of ImmortalsWen Chia (1501-1583)Ming Dynasty Wen Chia, the second son of the noted artist Wen Cheng-ming, was a native of Ch’ang-chou, Kiangsu. His style name was Hsiu-ch’eng; his sobriquet was Wen-shui. Noted for his poetry, calligraphy and painting, Wen Chia particularly excelled in landscape. In his use of the brush and ink he preferred the harmonious to the beautiful. Wen Chia’s painting style developed from the family style. His use of the brush reveals a lack of concern for precise detail; rather his works possess an unrestrained harmony. Wen Chia’s work is equal to that of his father. The painting depicts a steep hillside bathed in mists. A temple is hidden deep in a valley, and a village emerges from layers of clouds. Two figures below slowly cross a bridge. This painting is very fine, and although the brushwork simple, the meaning is profound.
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