书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢诗塘绢

释文:

印记资料:

鑑藏宝玺：宣统御览之宝
鑑藏宝玺：无逸斋精鉴玺
收传印记：清虚府
收传印记：□山之裔
收传印记：司印（半印）

题跋资料:

题跋类别：题跋；作者： 本幅左上端 ；书体：楷书；全文：洞天山堂

题跋类别：题跋；作者：王铎诗塘丙戌（西元一六四六年）端阳后三日题于琅华馆。孟津王铎为二弟仲和宪副。 神理气韵。古秀灵通。入于□微。董源此图。当属元化。丙戌端阳后三日题于琅华馆。孟津王铎为二弟仲和宪副。印记：文渊太傅、王铎之印

主题:

主要主题：山水  ；其他主题：山水江河、湖海 ；其他主题：山水溪涧、湍泉 ；其他主题：山水瀑布 ；其他主题：人物高士（士人、隐士） ；其他主题：人物行旅 ；其他主题：人物侍从（侍女、童仆） ；其他主题：树木松 ；其他主题：树木  ；其他主题：建筑桥 ；其他主题：建筑台阁 

技法:

皴法披麻皴

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页18-19 收藏着录： 故宫书画图录，第一册，页75-76 参考书目： 1.胡赛兰，〈五代南唐董源洞天山堂〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页60-61。2.王耀庭，〈五代南唐董源洞天山堂〉，收入王耀庭编，《青绿山水画特展图录》（台北：国立故宫博物院，1995年七月初版一刷），页77-78。3.何传馨，〈五代南唐董源洞天山堂〉，收入何传馨、许郭璜编，《夏景山水画特展图录》（台北：国立故宫博物院，1991年七月初版），页92。4.〈五代南唐董源洞天山堂〉，收入国立故宫博物院编辑委员会编，《山水画墨法特展图录》（台北：国立故宫博物院，1987年七月初版），页58-59。5.王耀庭，〈传董源〈洞天山堂〉、〈龙宿郊民〉初探〉，《故宫学术季刊》，第二十三卷第一期（2005年秋），页225-240。6.陈昱全，〈传董源〈洞天山堂〉的画风、成画时代与制作脉络〉，《故宫文物月刊》，第339期（2011年6月），页78-91。7.郑淑方，〈五代南唐董源洞天山堂〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页248。 内容简介（中文）： 董源（西元十世纪），字叔达，江南锺陵人。事南唐为北苑副使。善画山水，多写江南真山，不为奇峭之笔。此画由王铎鉴定为董源。其景云壑幽深，曲涧迤逦，真觉深山大泽，有阴寒逼人之势。米襄阳称述董画，谓其峰峦出没，云雾显晦，不装巧趣，皆得天真。岚色苍郁，枝干挺劲，咸有生意，此图彷彿可以见之。 内容简介（英文）： This scene of cloud-filled gorges and winding, cascading mountain torrents is genuinely infused with the permeating dampness of the deep mountains; it possesses an awesome feeling of chill and shadow. Mi Fu praised Tung Yüan’s works, saying that his ridges and peaks alternately appear and disappear; his mists and clouds, reveal and conceal. These unmannered effects are produced with great naturalness. The shading of the mists is dense and thick, while the trunks and branches of trees stand firmly upward. Everything is imbued with vitality. These qualities are likewise depicted in this work. This painting was attributed to Tung Yüan by the seventeenth century connoisseur Wang To. Tung Yüan (style-named Shu-ta), a native of Chung-ling in the Kiangnan region, served as an official in the Southern T'ang court. He excelled at landscapes and was also skilled in painting oxen, tigers, dragons, and water. His landscapes reflect, not an eccentric imagination, but the actual scenery of the Kiangnan region. 网页展示说明 此幅描绘巨壑深沟，白云围绕，长皴短点相间以状写山石，复以浓墨敷染，更显浑雄苍郁，颇有撼人之势；左侧殿宇耸立，右边曲涧迤逦，山间行旅或赶路或临桥听泉，景致幽深雅静，点出世外仙境的主题。　本幅无款，依王铎的题跋将作者定为董源。董源（活动于10世纪上半），江南锺陵（今江西南昌附近）人，善写江南山水，影响后世山水画发展甚钜。从笔意观之，此作成画时间约在元代。(20110913) 网页展示说明 This painting depicts a large valley deep and broad with white clouds circling about. Long hemp-fiber strokes and short dots alternate to form the mountain forms, to which dark ink and washes were added to make them more powerful and hoary that gives them force. Rising on the left are palatial buildings and on the right is a winding ravine, the travelers in the mountains making their way along or arriving at a bridge to listen to the water. The scenery is remotely serene and elegantly peaceful, highlighting the theme of a realm of immortals apart from the world.This painting is unsigned, but Wang Duo’s inscription gives the artist as Dong Yuan. A native of Zhongling in Jiangnan (near modern Nanchang in Jiangxi), Dong Yuan excelled at painting Jiangnan landscapes, having an enormous influence on later developments in Chinese landscape painting. Judging from the brush manner, this work appears to date from approximately the Yuan dynasty.(20110913)