书体:

色彩:

设色,青绿

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：乾隆鑑赏
鑑藏宝玺：御书房鑑藏宝
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

题跋资料:

题跋类别：作者款识；作者：文伯仁；题跋位置：本幅；款识：五峰山人文伯仁写于停云馆；书体：草书；全文： 印记：文伯仁、五峰山人

主题:

主要主题：山水夏景 主要主题：山水江河、湖海江河；次要主题：山水瀑布 ；次要主题：花草芦苇 ；其他主题：建筑房舍 ；其他主题：树木  ；其他主题：人物高士（士人、隐士）高士１人；其他主题：山水溪涧、湍泉湍泉

技法:

皴法披麻皴

参考资料:

收藏着录： 石渠宝笈初编﹝御书房﹞，下册，页1130 收藏着录： 故宫书画录﹝卷五﹞，第三册，页396-397 收藏着录： 故宫书画图录，第八册，页89-90 参考书目： 1.何传馨，〈明文伯仁五月江深〉，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102。 内容简介（中文）： 文伯仁，字德承，号五峰，江苏苏州人。家学渊源，从小在书香环境中成长，除传绪叔父文征明画学之外，同时进一步探求宋元各家山水画法。从赵伯驹、赵孟頫，到黄公望、王蒙等人，多方面学习取益，因此能写苍郁浑厚之景，也能秀逸清雅，不为一家一派所拘限。 此幅画题出自杜甫诗句：「百年地僻柴门迥，五月江深草阁寒」，虽然从文征明典雅的小青绿出发，却用茂密的皴法和苔点，来传达山林郁郁葱葱的景象，颇近于王蒙的笔法。构图虚实的安排，参考宋人略加变化，整体格局兼得山势雄伟与江天浩瀚之感。明代中期苏州地区山水画的发展，取向融会综合，文伯仁此作也见融会的功力，从传统中掌握到自己的方向。（王竞雄） 内容简介（中文）： 文伯仁（西元一五○二－一五七五年）字德承，号五峰，又号葆生、摄山老农，长洲人（江苏苏州）。征明从子。善画山水、人物，效王蒙，笔力清劲，巖峦郁茂。享年七十四。 此幅诗意出自杜甫「五月江深草阁寒」诗意。描写五月的江亭山景，层峦郁茂，隐约可听到淙淙泉水声，一人独坐亭中远眺江景。文伯仁采用了对角线构图来处理整幅画面，虽然重心在山林部分，但江水也为画面增添了动感。全幅以青绿设色，颇受文征明的影响。 内容简介（英文）： Wen Po-jen’s style name was Te-ch’eng, and his sobriquets were Wu-feng, Pao-sheng, and She-shan lao-nung. A nephew of the artist Wen Cheng-ming, he was a native of Soochow in Kiangsu. He excelled at painting landscapes and figures. The theme and title of this painting is derived from a line of poetry by Tu Fu (712-770) which reads, “In the panorama of summer, the grasses and pavilions are cool.” Modeled after the style of the Yüan master Wang Meng (1308-1385), Wen Po-jen’s brushwork is strong, and his luxuriant landscapes are filled with peaks, crags, rocks, and caverns. In this painting depicting a river retreat in summer mountains, peaks with dense foliage rise layer after layer. The gurgling of a brook deep in the woods can almost be heard. A lone gentleman in a pavilion looks far into the distant river scenery. Using diagonals to organize the composition, Wen Po-jen emphasizes the effect of the vast river panorama which complements the central element--the mountain forest in the foreground. The influence of Wen Cheng-ming is evident in the use of blue-and-green. 网页展示说明 此幅画题出自杜甫诗句：「百年地僻柴门迥，五月江深草阁寒」。画面以对角线构图，一边布置葱郁的山林，一边则为浩瀚的江天；山林中隐蔽数间屋舍，有一人独倚栏杆远眺江景，传达出僻地幽居的情景。画上题识指出此作写于「停云馆」；停云馆为文伯仁叔父文征明的斋室。文伯仁早年应常有机会于停云馆活动，但据说叔姪后来涉颂，关系生变。因此学者将此作视为文伯仁与文征明关系良好时，在停云馆所画的早期作品。(20100713) 网页展示说明 The theme and title of this painting derive from a line of poetry by Du Fu that reads, “The secluded land over many years distances the gate to reclusion, the deep river in the fifth month (midsummer) makes the thatched building cool.” The painting takes a one-corner composition, with thick mountains in the lower right corner and a vast expanse of river and sky to the back. Several buildings are concealed in the mountains, where a man leans alone against a railing to gaze at the river scenery, conveying a scene of secluded reclusion. The inscription on this work indicates it was done at the Tingyun Hall, the studio of Wen Boren’s uncle, Wen Zhengming. Wen Boren probably had many opportunities to go to his uncle’s studio, but later the two reportedly had a legal dispute and their relationship soured as a result. For this reason, scholars suggest that this work was done when both uncle and nephew were still on good terms, making it an early work by Wen Boren.(20100713) 网页展示说明 本作の画题は杜甫の诗文「百年地僻柴门迥、五月江深草阁寒。」からである。対角线构図を用いて、一方に郁苍と生い茂る山林が、一方に広々とした川の水面と大空が描かれている。山林に复い隠された家屋が数轩、栏干にもたれて远方の川を眺めている人物がおり、片田舎にひっそりと暮らす情景が表现されている。 题识によれば、本作は「停云馆」で描かれたという。停云馆とは、文伯仁の叔父文徴明の书斎である。文伯仁は若い顷しばしば停云馆を访れたと思われるが、后に叔父との间で法的な争いがあり、その関系にも変化が生じたという。そのため、研究者は本作を文伯仁と文徴明の関系が良好だった时代の作品だと见なしている。停云馆で描かれた早年の作品である。(20100713)