书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：宝笈三编
鑑藏宝玺：宣统御览之宝
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

题跋资料:

主题:

主要主题：山水秋景 ；其他主题：山水溪涧、湍泉 ；其他主题：山水瀑布 ；其他主题：人物百姓 ；其他主题：建筑房舍 ；其他主题：建筑城墙 ；其他主题：山水山径 ；其他主题：山水江河、湖海 ；其他主题：人物高士（士人、隐士） ；其他主题：树木  ；其他主题：建筑桥 

技法:

皴法斧劈皴

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第三册，页1378 收藏着录： 故宫书画录（卷五），第三册，页40-41 收藏着录： 故宫书画图录，第一册，页165 收藏着录： 国宝再现-书画菁华特展，页66-75、252 参考书目： 1.林莉娜，〈宋范宽秋林飞瀑〉，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65。2.〈宋范宽秋林飞瀑〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页218。 内容简介（中文）： 范宽（11世纪初），华原（今陜西华原）人。本名中正，字仲立。因性情宽厚，时人称为范宽。画山水，先学李成，再学荆浩，用笔强劲有力，用墨厚重。构图取景单纯，所以在视觉上，特别能表现出山形的雄伟壮观，以及质量感，这幅的山石皴纹系用斧劈，与本院收藏另一幅使用雨点皴法的「谿山行旅图」比较，面目显见不同，而与李唐画风较为接近。画中红枫飘于水上，诗意是唐崔信明句「枫落吴江冷」。 内容简介（中文）： 范宽（活动于11世纪初），华原（今陕西耀县）人。本名中正，字仲立。因性情宽厚，时人称为范宽。其画用笔强劲有力，用墨厚重。构图取景单纯，所以在视觉上，特别能表现出山形的雄伟壮观以及质量感。然而本幅山石皴纹系用斧劈，与本院所藏范宽使用雨点皴法的〈谿山行旅图〉明显不同，而与李唐画风较为接近。画中红枫飘于水上，当在表现唐代崔信「枫落吴江冷」的名句。(20110913) 内容简介（英文）： Fan Kuan (original name Zhongzheng, style name Zhongli) was a native of Huayuan (modern Yaoxian, Shaanxi). Because of his magnanimous nature and uninhibited deportment, he was called Fan “Kuan” (meaning “broad” or “encompassing”). In painting he used strong and powerful brushwork with rich and heavy ink. His compositions were usually straightforward, so that, visually speaking, they particularly express the majestic monumentality of mountains. In terms of quality, this painting makes use of “axe-cut” strokes for the texture patterning of the mountains, which obviously contrasts with the “rain-drop” texture strokes in Fan’s masterpiece “Travelers Among Mountains and Streams” in the Museum collection. Rather, this work is closer in style to that of Li Tang from later in the Song dynasty. The imagery of red maple leaves in autumn floating on water is derived from a famous line by Cui Xin of the Tang dynasty: “Maple leaves fall on the cold Wu River.”(20110913) 内容简介（英文）： Fan K’uan was a native of Hua-yüan in Shensi province. His style name was Chung-li and his original name was Chung-cheng, but he changed this to K’uan (meaning broad, encompassing ) because of his magnanimous nature and uninhibited deportment. He first followed the landscape style of Li Ch’eng and also studied the works of Ching Hao. Later he developed his own manner.Fan K’uan’s painting style was extremely individualistic; his brushwork and use of ink were heavy and thick. Previous critics of his work have noted that his use of ink gives an impression of monumentality and solidity. He thoroughly understood the “bones” of the earth. Throughout this painting we see the use of “axe-cut” texture strokes. This contrasts with the use of “rain-drop” texture strokes on his painting “Travelers Among Streams and Mountains” and is more like the work of Li T’ang. The imagery of red maple leaves of autumn floating on the water is derived from Ts’ui Hsin-ming’s line which reads, “Maple leaves fall on the cold Wu River”.