书体:

色彩:

水墨

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：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：养心殿鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：项德新；题跋位置：本幅；款识：秋江云树。草阁寒泉。项德新写倪迂之笔。；书体：楷书；全文： 印记：项德新印、又新氏

题跋类别：题跋；作者：陈奕禧左边幅鉴赏名绘。每使人清心忘世。由乎妙手。笔墨既精。意象并臻敻绝也。吾禾项又新。为墨林先生之从子。根柢于古人。法度最深。复以高简雅淡之情。见诸寄讬。意不在画而画乃佳。试观此帧之神韵趣致。便知前辈风流。非后人能及。不觉京华热地。今日疎帘小阁间。竟是深山寒壑矣。戊子闰月奕禧为廉让题。  印记：奕禧、香泉、郣海

主题:

主要主题：山水秋景 ；次要主题：建筑亭 ；次要主题：山水瀑布 ；其他主题：山水山径 ；其他主题：山水云 ；其他主题：树木寒林．枯树枯树；其他主题：建筑栏杆 ；其他主题：树木竹 ；其他主题：山水溪涧、湍泉 ；其他主题：树木  

技法:

写意 皴法披麻皴皴法折带皴

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页657 收藏着录： 故宫书画录（卷五），第三册，页426-427 收藏着录： 故宫书画图录，第九册，页29-30 参考书目： 1.傅申，卢素芬译，〈传陶复初画〈秋林小隐〉应是明项德新所作 — 故宫藏画鑑别研究之二〉，《故宫文物月刊》，第316期（2009年7月），页70-82。 内容简介（中文）： 项德新（西元一六二三生，卒年不详）字复初，为项元汴从子。（一说为元汴子，非。盖其生年，远在元汴卒年后也。）善山水，亦善写生。流传最少，海内得其片纸，珍如拱璧。　项德新笔墨雅澹中别有一种逸趣，学云林能得其神髓而遗其形迹。此幅画溪壑之一曲，亭树浅湍，云巖飞瀑，构景幽绝。陈奕禧跋中评云，高简雅淡之情，见诸寄讬，意不在画而画乃佳。 内容简介（中文）： 项德新（约西元一五六一－一六二三年）字又新，号复初，因其斋名为「读易堂」，又号读易居士，为项元汴第三子。他不但富于收藏，也擅长绘事，风格乃是根植于文征明的吴派传统以及家中收藏的宋元古画，颇受同代人推重。 此幅画溪壑之一隅，亭树浅湍，云巖飞瀑，构景幽绝。笔墨雅澹中别有一种逸趣，学倪瓒能得其神髓而遗其形迹，画法及意境远超其父项元汴。 内容简介（英文）： Xiang Dexin (style name Youxin, sobriquet Fuchu) had a sobriquet named after his studio, “Hall of Reading the Yijing.” The third son of Xiang Yuanbian, he not only had a major art collection, he also was a gifted painter himself. His style was firmly rooted in the Wu school tradition of Wen Zhengming. Contemporaries also admired his vast collection of Song and Yuan paintings. This work shows a river in a valley with a waterside pavilion, trees, and shallow waters. A cascade emerges from the clouds and cliffs, forming a secluded scene. The elegant brush and ink have an untrammeled quality. Xiang studied Ni Zan’s style of the Yuan to achieve both its spirit and appearance, his art methods and lyrical scenery exceeding those of his father, Xiang Yuanbian. 内容简介（英文）： Hsiang Te-hsin was the nephew of the collector and connoisseur Hsiang Yüan-pien. His style name was Fu-ch’u. He excelled at painting landscapes, as well as birds and flowers. His extant works are considered today as rare as imperial jade. The refined and pale ink of Hsiang’s brush contains its own fluid quality. This work, inspired by Ni Tsan, has captured both the form and spirit of the Yüan master. Depicting a cove of a river with pavilion and trees nestled at the foot of a waterfall, the effect is of deep seclusion. The inscription by Ch’en I-hsi states that the traits of loftiness, simplicity, elegance, and blandness are all embodied in this work. The aim of the painter was not to produce a painting; he thereby was able to express these very exalted qualities in the work itself.