书体:

色彩:

设色,青绿

装裱形式:

轴

创作时间:

明世宗嘉靖十年（1531）

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：居节；题跋位置：本幅；款识：江南春。（篆书）。（第一则）象床凝寒照蓝笋。碧幌兰温瑶鸭静。东风吹梦晓无踪。起来自觅惊鸿影。彤帘霏霏宿馀冷。日出莺花春万井。莫怪啼痕栖素巾。明朝红嫣飞作尘。（第二则）春日迟。春波急。晓红啼春香雾湿。青华一失不再及。飞丝营空眼花碧。楼前柳色迷城邑。柳外东风马嘶立。水中荇带牵柔萍。人生多情亦多营。嘉靖辛卯（西元一五三一年）四月几望。商谷居节。；书体：篆书；全文： 印记：居节

主题:

主要主题：山水春景 ；其他主题：山水瀑布 ；其他主题：山水江河、湖海江河；其他主题：建筑房舍 ；其他主题：树木  ；其他主题：树木杨柳 

技法:

皴法 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1970 收藏着录： 故宫书画录（卷五），第三册，页408 收藏着录： 故宫书画图录，第八册，页125-126 参考书目： 1.〈明居节江南春〉，收入国立故宫博物院编辑委员会编，《春景山水画特展图录》（台北：国立故宫博物院，1987年一月初版），页55。 内容简介（中文）： 居节（活动于西元一五三一至一五八五年前后），字士贞，号商谷，江苏吴县人，文征明的高足。尚气节，虽穷困，仍以丹青自娱。绘画风格得文征明心传。书法、诗词也很好。一部份来自赵孟頫、陆放翁。后人珍赏他的画，与朱朗、侯懋功相抗衡。 青绿设色画绿波青嶂，纤草繁花。山中悬一瀑布，丘壑很多却罕见人迹。用笔有力，方笔较多。画上自题江南春诗一首，词一首，书法也很好。整幅画把江南的春天表现得淋漓尽致。本幅画于辛卯（一五三一）年。 内容简介（中文）： 居节（活动于西元一五三一－一五八五年前后），字士贞，号商谷，江苏吴县人，以文征明为师。尚气节，虽穷困，仍以丹青自娱。绘画风格得文征明心传。与朱朗、侯懋功相抗衡。书法、诗词亦佳。　本幅画于辛卯（一五三一）年。青绿设色，用笔有力，画绿波青嶂，碧草繁花。山中悬一瀑布，层叠丘壑，罕见人迹。画上自题〈江南春诗〉一首。整幅画将江南春天景象表现得淋漓尽致。(20120103) 内容简介（英文）： Ju Jie (style name Shizhen, sobriquet Shanggu), a native of Wu (Suzhou) in Jiangsu, was a brilliant student of Wen Zhengming. Of great integrity, and despite poverty, he painted only for pleasure. His style was much influenced by Wen’s. Ranking with Zhu Lang and Hou Maogung, Ju’s calligraphy and poetry were also fine. This 1531 work was done in the “blue-and-green” style to depict waves and mountains with delicate grasses and luxuriant vegetation. A waterfall cascades from the mountains, and few signs of habitation are found in the many hills and ravines. The brushwork is powerful with much angular texturing. The artist inscribed on it a poem on spring in Jiangnan, portraying Jiangnan springtime with much moistness.(20120103) 内容简介（英文）： Chu Chueh, style name Shih-chen and sobriquet Shang-ku, was a native of the Soochow region of Kiangsu Province; he was the best student of Wen Cheng-ming. He was a man of great integrity, and although very poor, painted only for his own pleasure rather than for economic reasons. His painting style was very much influenced by that of Wen Cheng-ming. His poetry and calligraphy, which were modeled in part on the styles of Chao Meng-fu and Lu Yü, were also excellent. Later generations prized his work highly, considering him on a level with Chu Lang and Hou Mao-kung. Painted in the blue and green style, this painting depicts waves and mountains, delicate grasses and luxuriant vegetation. A waterfall cascades from the mountains; in the many hills and ravines there are few signs of human habitation. Chu’s brushwork is very powerful; he employs many angular texture strokes. The artist inscribed two poems entitled “Spring in Chiang-nan” in the upper right hand portion of the painting. The painting techniques are excellent, fully depicting the moist spring atmosphere of Chiang-nan. This work was completed in 1531.