书体:

色彩:

设色

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅绢拖尾绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：重华宫鑑藏宝
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
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：李宗谟；题跋位置：本幅；款识：（四十二人各标名。诗文不录）剑南李宗谟。；书体：行书；全文： 印记：宗谟、小樵

题跋类别：题跋；作者：王穉登拖尾王穉登对雨书；全文：；书体：行书；全文：（王羲之兰亭修禊叙。孙绰后序。文不录）王穉登对雨书。印记：王穉登印、青羊君

主题:

主要主题：人物官员（臣） 主要主题：经史‧故事 故事（兰亭修褉图）主要主题：人物高士（士人、隐士）高士；次要主题：树木杨柳 ；次要主题：树木竹 ；次要主题：树木松 ；次要主题：建筑水榭 ；次要主题：器用文房用具 ；次要主题：翎毛鹅 ；其他主题：树木柏 ；其他主题：花草  ；其他主题：器用家俱（屏风）坐毯、坐席、兽皮、桌；其他主题：建筑桥 ；其他主题：器用如意 ；其他主题：器用扇 ；其他主题：人物侍从（侍女、童仆）侍徙、童仆；其他主题：花草兰．蕙兰；其他主题：器用饮食器茶、碗、水器；其他主题：器用文玩（琴棋书画）书画

技法:

工笔 写意 界画 双钩 皴法披麻皴皴法斧劈皴人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈续编（重华宫），第三册，页1630 收藏着录： 故宫书画录（卷四），第二册，页229 收藏着录： 故宫书画图录，第十九册，页291-296 收藏着录： 以文会友-雅集图特展，页44-69、275 内容简介（中文）： 李宗谟（约活动于十六、十七世纪之间），福建永安人。号小樵，又号古栟子。工人物，间写山水，白描亦精致秀雅。此卷画兰亭雅集，卷首画王羲之在兰亭内据案停笔观鹅，后接诸人列于曲水两岸，并附录出名衔与其诗文。这种图绘模式曾见于明初兰亭石刻拓本，流布影响甚广，本卷也属一例。本幅画山石，其线条流利，深受唐寅影响，设色则是近于仇英。李宗谟活动于明代晚期，故多受明中期著名画家影响。(20120408) 内容简介（中文）： 李宗谟（约活动于十六、十七世纪之间），福建永安人。号小樵，又号古栟子。工人物，间写山水，白描亦精致秀雅。用长卷画兰亭雅集，前有王羲之在兰亭内据案停笔观鹅，后接诸人列于曲水两岸，并附录出名衔诗文。这种模式屡次出现，本幅也是如此。本幅画山石，其线条流利，深受唐寅影响，设色则是近于仇英。李宗谟活动于明代晚期，所受明中期著名画家影响，是理所当然。 内容简介（英文）： Wang Hsi-chih at the Orchid PavilionLi Tsung-mo (fl. 16th -17th c.)Ming Dynasty Li Tsung-mo, a native of Fukien, was talented at figure and landscape painting. His outline (pai-miao) style was also delicate and elegant. To the right, at the start of a long horizontal scroll showing the Orchid Pavilion gathering, we see Wang Hsi-chih in the pavilion at a table holding a brush and viewing the sinuous necks of geese for inspiration. Following are figures seated along the banks of a winding stream. Also included is a transcription of their names and poems. This format was repeated through the ages, as seen here. The fluent lines of the banks and rocks reveal the influence of T’ang Yin, while the coloring is close to that of Ch’iu Ying. Active at the end of the Ming, Li was influenced by mid-Ming styles. 内容简介（英文）： Li Zongmo (sobriquets Xiaoqiao, Gubenzi), a native of Yong’an in Fujian, was talented at figure and landscape painting. His ink line (baimiao) style was also delicate and elegant. To the right, at the start of this handscroll showing the Orchid Pavilion gathering, we see Wang Xizhi at a table with a brush and viewing the sinuous necks of geese for inspiration. Following are figures seated by the banks of a winding stream. Also included is a transcription of their names and poems. This format is seen in early Ming engravings of the subject, which circulated widely, this being one. The fluent lines of the banks and rocks reveal the influence of Tang Yin, while the coloring is close to Qiu Ying’s. Active in the late Ming, Li Zongmo was influenced by mid-Ming styles.(20120408)