书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸诗塘纸

释文:

印记资料:

作者印记：王翬之印
作者印记：石谷
作者印记：有何不可
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：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
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：题跋；作者：王时敏；题跋位置：本幅；款识：庚戌榖雨后一日。西庐老人王时敏题。；书体：行楷书；全文：石谷此图。虽倣山樵。而用笔措思。全以右丞为宗。故风骨高奇。迥出山樵规格之外。春晚过娄。携以见眎。馀初欲留之。知其意颇自珍。不忍遽夺。每为怅怅。然馀时方苦嗽。得此饱玩累日。霍然失病所在。始知昔人檄愈头风。良不虚也。庚戌榖雨后一日。西庐老人王时敏题。印记：真寄、烟客、王时敏印

题跋类别：题跋；作者：恽寿平诗塘庚戌夏五月。毘陵南田草衣恽格。题于静啸阁。；书体：行楷书；全文：乌目山人为馀言。生平所见王叔明真迹。不下廿馀本。而真迹中最奇者有三。吾从秋山草堂一帧寤其法。于毘陵唐氏观夏山图会其趣。最后见关山萧寺本。一洗凡目。焕然神明。吾穷其变焉。大谛秋山天然秀润。夏山郁密沈古。关山图则离披零乱。飘洒尽致。殆不可以径辙求之。而王郎于是乎进矣。因知向者之所为山樵。犹在云雾中也。石谷沉思既久。暇日戏汇三图笔意于一帧。芟荡陈趋。发挥新意。徊翔放肆。而山樵始无馀蕴。今夏石谷自吴门来。馀搜行笈得此帧。惊歎欲绝。石谷亦沾沾自喜。有十五城不易之状。置馀案头摩娑十馀日。题数语归之。盖以西庐老人之矜赏。而石谷尚不能割所爱。矧馀辈安能久假。为韫椟之玩耶。庚戌夏五月。毘陵南田草衣恽格。题于静啸阁。印记：正叔、寿平

题跋类别：题跋；作者：恽寿平诗塘冬十月。南田恽格又题。；书体：行楷书；全文：偶过徐氏水亭。见此帧乃为金沙潘君所得。既怪叹且妒甚。不对赏音。牙徽不发。岂西庐南田之矜赏。尚不及潘君哉。米颠据舷而呼。信是可人韵事。真足效慕也。但未知石谷他日。见西庐南田。何以解嘲。冬十月。南田恽格又题。印记：南田草衣

主题:

主要主题：山水秋景 ；次要主题：树木枫树．槭树枫树；次要主题：建筑寺庙 ；其他主题：山水溪涧、湍泉溪涧；其他主题：建筑桥 ；其他主题：人物高士（士人、隐士） ；其他主题：建筑房舍 ；其他主题：建筑篱笆、围墙篱笆；其他主题：建筑茅草屋 ；其他主题：山水山径 ；其他主题：树木  ；其他主题：山水石磴、栈道石磴；其他主题：山水瀑布 ；其他主题：建筑塔 

技法:

写意 皴法 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（御书房），第四册，页2096-2097 收藏着录： 故宫书画录（卷五），第三册，页531 收藏着录： 故宫书画图录，第十册，页177-178 参考书目： 1.林莉娜，〈清王翬溪山红树图〉，收入林莉娜编，《秋景山水画特展图录》（台北：国立故宫博物院，1989年十月初版），页82-83。 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、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，借机揣摩名蹟，因能笔参古今，貌合南北。画技之精熟为清代第一。 此帧为石谷三十八岁作，其画中极精之品。画曾为王时敏、恽寿平所见，两人皆欲留之，而石谷不与，盖仿王蒙而深有得者。南田跋中评云：「芟荡陈趋，发挥新意，徊翔放肆，而出山樵几无馀蕴」。语意极为推奖，而无过当之嫌。 内容简介（中文）： 王翬（1632–1717），字石谷，号耕烟散人、剑门樵客等。江苏常熟人，少即善画，得王鑑、王时敏指授，游历各地，揣摩名蹟而笔参古今。 此帧为石谷三十八岁之作，拟王蒙笔意，描绘秋日山林景色，主体山势圆转重叠，高耸突兀，山溪逶迤，涟漪阵起。布局构景繁密，山势深奇，植披浓密厚重，林木红翠相间，秋光熠熠。恽南田评：「山樵几无馀蕴」。翬从学弟子众，世称「虞山派」，画风影响后世深远。(20120714) 内容简介（英文）： Wang Hui (style name Shigu) was a native of Changshu, Jiangsu. As a youth he excelled at painting and was taught by Wang Jian and Wang Shimin. He also traveled and viewed famous artworks, his brushwork fusing old and new. This scroll from the Chinese age of 38 is patterned after Wang Meng’s style, depicting mountain forest scenery on an autumn day. The main peak bursts forth in the back, a stream winding through. The composition is dense and the mountains deep, the scenery lush with both green and red leaves, creating a shimming sense of autumn. Yun Shouping claimed it more than captured Wang Meng’s essence. Wang Hui studied a variety of sources and headed the Yushan School, his style having a great influence on later generations.(20120714) 内容简介（英文）： Wang Hui (style name Shih-ku; sobriquets Keng-yen San-jen, Wu-mu Shan-jen, Chien-men ch’iao-k’o, Ching-hui Chu-jen) was a native of Ch’ang-shu, Kiangsu. As a youth he excelled in painting, and he received instruction from Wang Chien and Wang Shih-min. He also had the opportunity to see the two Wangs’ collection of ancient masterpieces which he copied. He was thus skilled in both ancient and modern brush styles, and his painting style comprised the tradition of both northern and southern schools. He is one of the most skilled painters of the Ch’img dynasty. Wang Hui painted this highly-accomplished scroll when he was thirty-seven years old. Both Wang Shih-min and Yün Shou-p’ing saw this work and wanted to obtain it, but Wang Hui declined. The painting was after Wang Meng and has more than captured the Yüan master’s spirit. The inscription by Yün Shou-p’ing states that after eliminating all the stale tendencies from paintings in the Wang Meng style, Wang Hui expressed a new meaning. The brush moves as free and confidently as a bird, leaving little more for the master to add.