书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

清圣祖康熙十九年（1680）

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：干清宫鑑藏宝
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：王翬；题跋位置：本幅；款识：万壑响松风。百滩度流水。庚申（西元一六八０年）秋八月。倣巨然笔于金陵续灯庵。耕烟散人王翬。；书体：行楷书；全文： 印记：王翬之印、石谷、意在丹丘黄鹤白石青藤之间、上下千年

主题:

主要主题：山水  ；次要主题：山水溪涧、湍泉溪涧；其他主题：建筑房舍 ；其他主题：山水瀑布 ；其他主题：树木松 ；其他主题：树木寒林．枯树枯树；其他主题：山水山径 ；其他主题：人物高士（士人、隐士）士人；其他主题：树木  

技法:

写意 皴法披麻皴苔点 皴法 

参考资料:

收藏着录： 石渠宝笈续编（干清宫），第二册，页592 收藏着录： 故宫书画录（卷五），第三册，页530 收藏着录： 故宫书画图录，第十册，页121-122 内容简介（中文）： 王翬（西元一六三二－一七一七年），字石谷，号耕烟散人、乌目山人。少即善画，继得王鑑、王时敏指授，并随之阅览各地珍藏，临摹名蹟，因能笔参古今，貌合南北。本幅画松画草，特似南田；画水皴山，用笔迅疾，略近江上，与一般面目小异。盖连年与恽寿平、笪重光文酒周旋，故放意笔端，自然相近。用笔运墨，洒泼自然，为一时兴会之作。时年四十九岁。 内容简介（中文）： 王翬（西元一六三二－一七一七年），字石谷，号耕烟散人、乌目山人。少即善画，继得王鑑、王时敏指授，并随之阅览各地珍藏，临摹名蹟，因能笔参古今，貌合南北。　本幅画松画草，特似南田；画水皴山，用笔迅疾，略近江上，与一般面目小异。盖连年与恽寿平、笪重光文酒周旋，故放意笔端，自然相近。用笔运墨，洒脱自然，为一时兴会之作。时年四十九岁。(20120103) 内容简介（英文）： Wang Hui (style name Shigu and sobriquets Gengyan sanren, Wumu shanren) was already gifted at painting in his youth. He then studied under Wang Jian and Wang Shimin, with them visiting many great art collections. By copying, he learned a variety of ancient and modern styles spanning the Northern and Southern Schools. This landscape with grasses and pines (done at the age of 49 by Chinese reckoning) is especially close in style to Yun Shouping’s. Sweeping strokes for water and mountain motifs run to the slope and differ from conventional renderings. For years, Wang Hui associated with Yun Shouping and Da Chongguang, so naturally their styles appear similar. Brush and ink are spirited and natural, perhaps the result of a convivial moment.(20120103) 内容简介（英文）： Wang Hui, a native of Kiangsu, was already a capable painter when he met Wang Chien and became his student. He later studied under Wang Shih-min. With these two masters, he visited great collections of art. By copying works, he learned a variety of ancient and modern styles.This landscape with grasses and trees is close in style to that of Yűn Shou-p’ing. The sweeping strokes for the water as they run into the slope differ from conventional renderings. For years, Wang Hui associated with Yűn Shou-p’ing and Ta Ch’ung-kuang, so it is natural that their styles are similar to one another’s. The use of brush and ink is spirited and natural, perhaps the result of a convivial moment. This was done by Wang in 1680.