书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

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：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：宝笈三编
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：文征明；题跋位置：本幅；款识：雨过群峰万壑奔。松风濑水玉粼粼。安知啸咏临流者。不是山阴禊饮人。征明。；书体：草书；全文： 印记：文征明印、停云馆

主题:

主要主题：人物高士（士人、隐士）２人；次要主题：山水  ；次要主题：人物侍从（侍女、童仆）童仆１人；次要主题：树木寒林．枯树 ；次要主题：树木  ；次要主题：山水溪涧、湍泉 ；次要主题：山水瀑布 ；其他主题：花草  ；其他主题：器用 尘；其他主题：器用文玩（琴棋书画）琴；其他主题：建筑桥 ；其他主题：树木松 

技法:

写意 皴法 人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1925 收藏着录： 故宫书画录（卷五），第三册，页373 收藏着录： 故宫书画图录，第七册，页121-122 参考书目： 1.童文娥，〈帝国的回忆　国立故宫博物院瑰宝赴法展专辑二 — 文征明松下观泉〉，《故宫文物月刊》，第186期（1998年9月），页40-41。 内容简介（中文）： 文征明（西元一四七○－一五五九年），江苏长州人。初名壁，字征明，后以字行。画师沈周（一四二七－一五○九），诗文书画均佳，为明中叶四大家之一，对明末画坛影响甚钜。本幅画高士二人，隔溪閒话，一僮携琴，自松间来。近景松林，笔墨细淡，结顶一山，却粗重如奔云，命意堪称奇绝。文征明个性谨饬，工画精细小幅，此帧属高头巨制，于文画中极为罕见。 内容简介（中文）： 文征明（西元一四七○－一五五九年），江苏长洲人。本名壁，字征明，后来以字代名，别号停云生、衡山居士。诗文书画的造诣都非常高，兴沈周、唐寅、仇英共称为「明四大家」。 松林间，一道清泉曲折流过，树下两名士人，他们整个的注意力，正投注于林泉之中，画面清逸。文氏作画大多细致秀润，本幅的笔法则相当粗放，且画幅特别大，在气势方面来说，是他罕见的佳作。巖石远山的画法，脱胎于吴镇。 内容简介（中文）： 文征明（西元一四七○－一五五九年），江苏长州人。初名壁，字征明，后以字行。画师沈周（一四二七－一五○九），诗文书画均佳，为明中叶四大家之一，对明末画坛影响甚钜。本幅画高士二人，隔溪閒话，一僮携琴，自松间来。近景松林，笔墨细淡，结顶一山，却粗重如奔云，命意堪称奇绝。文征明个性谨饬，工画精细小幅，此帧属高头巨制，于文画中极为罕见。(20100408) 内容简介（英文）： Wen Zhengming (original name Bi; sobriquets Tingyun sheng, Hengshan jushi) was a native of Suzhou who learned painting from Shen Zhou (1427-1509). Wen excelled at poetry, prose, calligraphy, and painting, being one of the Four Masters of the middle Ming and having a great influence on later Ming painting. In this work sit two gentlemen conversing on either side of a stream as an attendant approaches with a wrapped zither from the left. The pine trees are done in delicate and light ink, in contrast to the convoluted mountain forms. Wen Zhengming was reserved by nature, as seen in his small and delicate paintings. This work, on the other hand, is rather large and bold, being rarely seen in his repertoire.(20100408) 内容简介（英文）： Wen Cheng-ming was a native of Ch’ang-chou, Kiangsu. Originally Wen’s given name was Pi and his style name Cheng-ming, but he was later known by his style name. He also used the names T’ing-yün-sheng, and Heng-shan-chü-shih. As he excelled in poetry, belles-lettres, calligraphy and painting, Wen Cheng-ming is regarded as one of the Four Great Masters of the Ming dynasty. Two scholars have found a secluded spot next to a spring-fed stream winding amidst a dense pine forest where they quietly meditate on the purity of the environment. Most of Wen Cheng-ming’s paintings were done in a fine and elegant style; however, in this unusually large work, Wen employed a broader and looser brush mode. It can thus be numbered among his most visually powerful paintings. The painting style of the distant peaks resembles the style of the Yüan dynasty painter Wu Chen. 内容简介（英文）： Wen Cheng-ming was a native of Soochow who learned painting from Shen Chou (1427-1509). Wen excelled at poetry, prose, calligraphy, and painting, being one of the Four Masters of the middle Ming and having a great influence on later Ming painting. In this painting sit two gentlemen conversing on either side of a stream as an attendant approaches with a wrapped zither from the left. The pine trees are rendered with delicate and light ink, in contrast to the convoluted mountain forms. Wen Cheng-ming was reserved by nature, as seen in his small and delicate paintings. This work, on the other hand, is rather large and bold, being rarely seen in his repertoire. 研究性论着： 文征明（西元1470－1559年）﹐江苏长洲人。初名壁﹐字征明﹐后以字行；亦字征仲﹐号停云生﹑衡山居士。诗文书画并佳﹐与沈周﹑唐寅﹑仇英合为「明四大家」﹐画从沈周出﹐而别有成就﹐影响明朝晚期画风甚钜。画松阴下﹐两士人隔溪趺坐﹐挥麈对谈﹐一童携琴自松间而来﹐山崖巍峨﹐险峻外露﹐笔势奇绝崩云﹐运笔沈雄有力。松林挺拔俊秀﹐松针乱笔重叠﹐用浓淡墨分两次点成﹐淡里求浓﹐于雅澹中见其浑厚。综观本院收藏文征明之画﹐大致可分两类﹐一种是细致秀润﹐尤工精细小幅﹐多为浅绛青绿山水﹐构图繁复而不全依自然﹐尤其晚年喜欢在狭长的画幅中﹐一层层向上堆叠延伸。粗壮之笔﹐偶一为之﹐与沈周恰好相反﹐故世之所重者﹐为「粗文细沈」。本图画幅特大﹐且笔法相当粗放﹐有诗而无纪年﹐也未见于其他着录或收传印记﹐在《宝笈三编》则作「文征明松阴趺坐」（注1）﹐约嘉庆（1796－1280）年间进贡入清宫。本幅在笔法上﹐与其五十岁时所作巨幅之〈绝壑高閒〉（注2）﹐有异曲同工之妙﹐用笔皆粗朗挺劲﹐题材亦描写文士生活﹐应是同期之作品。就气势方面来说﹐是他罕见的佳作。（童文娥）注1：国立故宫博物院编﹐《石渠宝笈三编》（四）（台北：国立故宫博物院﹐1969）﹐页1925。注2：国立故宫博物院编﹐《故宫书画图录》（七）（台北：国立故宫博物院﹐1991）﹐页57-58。