书体:
色彩:
设色装裱形式:
卷创作时间:
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本幅绢释文:
印记资料:
鑑藏宝玺：乾隆御览之宝题跋资料:
题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：癸未春日御题；书体：行书；全文：(乾隆癸未御题。诗文不录。)印记：乾隆宸翰主题:
主要主题：山水 ；次要主题：山水云 ；其他主题：树木 ；其他主题：山水山径 ；其他主题：山水溪涧、湍泉溪涧；其他主题：山水田畴 ；其他主题：建筑房舍 ；其他主题：建筑桥技法:
写意 皴法披麻皴皴法米点皴苔点参考资料:
收藏着录： 石渠宝笈初编（御书房），下册，页1069 收藏着录： 故宫书画录（卷四），第二册，页150 收藏着录： 故宫书画图录，第十八册，页21-24 参考书目： 1.王耀庭，〈元人青山白云〉，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89。 内容简介（中文）： 此卷画层叠的青山峰峰相连，朵朵白云在山谷间萦绕。山脚下，丛树又掩抰着几户人家。面对如此宁静的画面，不禁令人感觉天地宽阔。这是一件元代少见的青绿山水佳作，不过画家除了用白粉钩勒流云的轮廓，青绿敷染山头外；山间的苔点以「米家点」画出，群树的丛叶也不仔细钩勒，而直接以浓淡不同的墨色表现。这些绘画手法明显受到元代文人画家高克恭的影响，极富水墨趣味。 内容简介（中文）： 此卷画青山层叠峰峰相连，朵朵白云在山谷间萦绕。山脚下，丛树又掩抰着几户人家。面对如此宁静的画面，不禁令人感觉天地宽阔，为元代少见的青绿山水佳作。然画家除了用白粉钩勒流云的轮廓，及青绿敷染山头外；山间的苔点更以「米家点」画出，群树的丛叶并不仔细钩勒，而直接以浓淡不同的墨色表现，这些绘画技法明显受到元代文人画家高克恭的影响，饶富水墨趣味。(20120103) 内容简介（英文）： In this handscroll appears peak after peak of blue-tinged mountains in layers as white clouds waft in the valleys. Several buildings are concealed among the trees and mists at the foot of the mountains. With such a tranquil scene, it is not hard to imagine the grand yet intimate side of nature. This is a rare Yuan masterpiece of blue-and-green landscape painting. The artist outlined the clouds and highlighted them with white. Washes of blue and green tinge the mountaintops and are highlighted by “moss dots” derived from the Song artists Mi Fu and Mi Youren. Leaves were directly dabbed with varying densities of ink tones in a technique that clearly reflects the influence of the Yuan scholar-artist Gao Kegong for a masterful display of ink.(20120103) 内容简介（英文）： In this handscroll appear peak after peak of blue-tinged mountains in layers as white clouds waft in valleys. Several buildings are concealed among the trees and mist at the foot of the mountains. With such a tranquil scene, it is not hard to imagine the grand yet intimate side of nature. This is a rare Yüan masterpiece of blue-and-green landscape painting. The artist outlined the clouds and highlighted them with white. washes of blue and green tinge the mountaintops and are highlighted by so-called "moss dots" derived from the styles of the Sung artists Mi Fu and Mi Yu-jen. The leaves were delicately dabbed with varying densities of ink in a technique that reflects the influence of the Yüan scholar-artist Kao K'o-kung. 研究性论着： 横卷构景，犹如远眺青山，地平线上，峰峰相连，层层相叠，横列在眼前。白云朵朵，于山谷间冉冉上升。山脚下，丛树掩映着人家，拭目横览，天地宽阔。面对此景，不禁令人感觉庄严神秘的大自然，广角视野的构图，地面群峰耸峙的张力，令人心动。白云用粉勾，群山先以墨笔勾出，再以干笔模糊的浅线打底，表现松软的土质，然后罩以青绿。山上点苔，群树叶丛，均用「米家点」。从前景的土滩、树本、屋宇，再进而群山耸立，大自然界行成一个明显层层，连续后退的空间，清晰得如同可以测量。可见画家对自然界的观察反应是相当理智，客观的表达画家眼中所见的景色。本幅无名款，画风上，画幅虽不大，然而大山堂堂，气魄上承续五代北宋董源一系的传统，近则元初画家高克恭也是以董源为祖，加以米家父子的墨点表现法，本幅即是这种风格影响下的作品。元代虽然文人画兴盛，注重笔墨趣味，但是本幅青绿，设色典雅，亦是佳作。（王耀庭）
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