书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

清圣祖康熙三十一年（1692）

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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：宁寿宫续入石渠宝笈
鑑藏宝玺：乐寿堂鑑藏宝
鑑藏宝玺：古稀天子
鑑藏宝玺：寿
鑑藏宝玺：八征耄念之宝
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

题跋资料:

题跋类别：作者款识；作者：王翬；题跋位置：本幅；款识：黄鹤山人秋山读书图。林壑郁密。气韵浑古。得巨然之神髓。盖其晚年用意笔也。髣髴写此。请正嘉甤道长先生。壬申（西元一六九二年）中秋。耕烟散人王翬。；书体：行书；全文： 印记：王翬之印、虞山石谷

题跋类别：作者款识；作者：王翬；题跋位置：本幅；款识：元季四大家。惟王叔明仕于国初。为泰安州倅。何元朗记。有雪图作于齐郡者是也。倪云林题。有笔精墨妙语。又云。澄怀观道宗少文。临池学书王右军。王侯笔力能扛鼎。五百年来无此君。推挹至矣。于北宋诸家。无所不摹。尤善右丞法。重阳前三日。王翬又书。；书体：草书；全文： 印记：太原、王翬之印、乌目山人、意在丹丘黄鹤白石青藤之间

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：乾隆辛巳初春御题；书体：行书；全文：（乾隆辛巳御题。诗文不录。）印记：干、隆

主题:

主要主题：山水秋景 ；次要主题：建筑房舍 ；次要主题：建筑斋馆 ；次要主题：树木松 ；其他主题：山水瀑布 ；其他主题：器用文玩（琴棋书画）书；其他主题：建筑篱笆、围墙围墙；其他主题：建筑庭院 ；其他主题：建筑桥 ；其他主题：翎毛鹤 ；其他主题：树木竹 ；其他主题：树木寒林．枯树枯树；其他主题：山水石磴、栈道石磴；其他主题：山水溪涧、湍泉 ；其他主题：人物渔夫、船夫船夫；其他主题：人物侍从（侍女、童仆）童仆；其他主题：船  ；其他主题：树木  ；其他主题：人物高士（士人、隐士） 

技法:

写意 皴法披麻皴人物衣纹描法(减笔) 苔点 

参考资料:

收藏着录： 石渠宝笈续编（宁寿宫），第五册，页2891 收藏着录： 故宫书画录（卷五），第三册，页528 收藏着录： 故宫书画图录，第十册，页133-134 内容简介（中文）： 王翬（一六三二－一七一七），字石谷，号耕烟散人、乌目山人、剑门樵客、清晖主人。少即善画，继得王鑑、王时敏指授，并随之阅览各地珍藏，借机临摹名蹟，因能笔参古今，貌含南北，画技之精熟为清代第一。王蒙善繁密皴笔，山峦林木丛郁深邃，多是夏秋山野之情状。故仿王氏者，多作此二季之景。石谷以淡笔勾定略皴后，再施以枯笔牛毛皴，深得王蒙苍郁笔趣。成于壬申（一六九二），作者六十一岁。 内容简介（中文）： 王翬（1632－1717），字石谷，号耕烟散人、乌目山人、剑门樵客、清晖主人。少即善画，后得王鑑、王时敏指授，并随时观摩临仿名蹟，因能笔参古今，貌含南北，画技之精熟为清代第一。王蒙善繁密皴笔，山峦林木丛郁深邃，多是夏秋山野之情状。故仿王氏者，多作此二季景致。石谷以淡笔钩定山石后，略加皴写，再施以枯笔牛毛皴，深得王蒙苍郁笔趣。此画是壬申（1692）年王氏六十一岁之作。(20110913) 内容简介（英文）： Wang Hui (style name Shigu; sobriquets Gengyan sanren, Wumu shanren, Jianmen qiaoke, Qinghui zhuren) was gifted at painting in his youth, later receiving instruction from Wang Jian and Wang Shimin, who also took him to view and copy masterpieces of art. Being able to absorb the brush manners of old and new, and encompassing both the Northern and Southern Schools, Wang Hui was among the best painters in the Qing dynasty and renowned for his mastery of technique.Wang Meng excelled at complex texturing in brushwork, creating peaks and forests dense and deep while often rendering rustic scenes in summer and autumn, which is why imitators of his works often did paintings of landscapes in these two seasons. Here, after Wang Hui had used light outlines to delineate the mountain forms, he added a little texturing and then applied “ox-hair” texture strokes with a dry brush, achieving the hoary brush manner of Wang Meng. This work was done in 1692 by Wang at the Chinese age of 61.(20110913) 内容简介（英文）： Wang Hui (style name: Shih-ku; sobriquets; Keng-yen san-jen, Wu-mu Shan-jen, Ch’ien-men chi’ao-k’o, Ch’ing-hui Chu-jen) was a native of Ch’ang-shu, Kiangsu. He was already a capable painter in his youth when he met Wang Chien (1598-1677) and Wang Shih-min (1592-1680), who both became his teachers. In addition to providing him with thorough instruction in painting, they also took him to view and copy the works of ancient masters in many great collections. In this way, he was able to absorb the brush techniques of both past and contemporary masters. Because of Wang Hui’s consummate skill and being able to unite the best qualities of the Northern and Southern Schools of painting, he became the greatest master of brush technique in the Ch’ing dynasty.Wang Meng (1309-85), after whose works the present painting is patterned, was an artist best known for his scenes of densely wooded mountain peaks in summer and autumn, and short, nervous texture strokes. After Wang Hui roughly outlined the forms in light ink, he then used a dry brush to execute “ox-hair” (numerous, tight-knit) texture strokes, thus capturing the spirit of Wang Meng’s works. This painting was done in 1692 when Wang Hui was 61-years-old.