书体:

色彩:

设色

装裱形式:

卷

创作时间:

文字类型:

汉文

质地:

本幅纸隔水绫

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：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
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：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：石谿；题跋位置：本幅；款识：茂林秋树图。石道人。；书体：行书；全文： 印记：石谿

题跋类别：题跋；作者：清高宗隔水丁亥春月御题；书体：行书；全文：御题行书（乾隆丁亥御题。诗文不录）印记：干、隆

主题:

其他主题：树木竹 ；其他主题：山水奇石 主要主题：山水秋景 ；其他主题：山水瀑布 ；其他主题：器用家俱（屏风）供桌；其他主题：花草芦苇 ；其他主题：人物行旅 ；次要主题：树木松 ；其他主题：建筑茅草屋 ；其他主题：树木杨柳 ；其他主题：山水山径 ；其他主题：建筑亭 ；其他主题：树木芭蕉 ；其他主题：建筑桥 ；其他主题：树木枫树．槭树 ；其他主题：树木  ；其他主题：人物高士（士人、隐士）高士、士人；其他主题：人物侍从（侍女、童仆）待徙、童仆；其他主题：山水溪涧、湍泉溪涧

技法:

皴法 人物衣纹描法(减笔) 

参考资料:

收藏着录： 石渠宝笈续编（重华宫），第四册，页1868 收藏着录： 故宫书画录（卷四），第二册，页266 收藏着录： 故宫书画图录，第二十册，页201-204 参考书目： 1.林莉娜，〈清石谿茂林秋树〉，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80-81。2.何传馨，〈石谿及其茂林秋树卷〉，《故宫文物月刊》，第15期（1984年6月），页96-101。3.许文美，〈清石谿茂林秋树〉，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328。 内容简介（中文）： 髡残（一六一二－一六七三），本姓刘，字石谿，一字介，丘号白秃、残道人。年幼失恃，出家为僧，后游历诸方。画山水，奥境奇闢，笔法深得王蒙意趣，亦善融和黄公望笔意。而秃笔用拙处，则为石谿自家面目。 本幅林木繁茂，枝干多左偃，树叶浓淡相间，布满画面，画中运用了十馀种画叶手法，以墨点之单叶、勾勒之夹叶，交互为用，画来密而不滞，丰富而多变化。 内容简介（中文）： 石谿（西元一六一二－约一六七三年），僧，湖南武陵人。本姓刘，字介丘，号髡残。幼而失恃，投龙山三家庵为僧，旋游历诸方。画山水，奥境奇闢，笔法深得王蒙意趣。秋林、水亭、瀑布、幽径、草堂，随丘壑之起伏错落画中，缅邈幽深。固造王蒙堂奥，亦善融和黄公望之笔意。尚秃笔用拙，则为自家面目。本幅林木繁茂，枝干大多左偃，树叶浓淡相间，布满画面，画中运用了十馀种画叶法，以墨点之单叶，勾勒之夹叶，交互为用，画来密而不滞，丰富而多变化。 内容简介（英文）： The monk Shih-hsi was a native Wu-liang in Hunan province. His family name was Liu and his style name was Chieh-ch’iu. Toward the end of the Ming dynasty (1638-1644), he became a monk at the Lung-shan San-chia monastery. He traveled throughout China and his landscape paintings are unique and exuberant. In brushwork, he followed the style of the Yüan dynasty (1279-1368) master Wang Meng. In this painting, the waterside pavilion, the waterfall, the path and the cottage are placed along the autumn hills of this lively yet solemn composition. The trees are dense, painted in vivid ink tones. The tree trunks are slightly inclined to the left and cover almost all of the pictorial space. Some leaves are painted in a single dot, while others are outlined in a detailed variety of shapes and colors. Here, Shih-hsi demonstrates his ability to evoke the styles of the Yüan masters Wang Meng and Huang Kung-wang. However, his use of a blunt brush is indicative of his own mature style. 内容简介（英文）： K’un-ts’an, also known as Shih-chi, was a native of Hunan province. He became a monk at the end of the Ming. Traveling extensively, his landscape paintings were noted for unique scenery and blunt brushwork. He followed the styles of the Yüan masters Wang Meng and Huang Kung-wang. The waterside pavilion, waterfall, path and cottage are placed along the hills of this lively composition. The trees are dense, painted in vivid ink tones. The tree trunks are slightly inclined and the leaves range from dark to light, covering almost all of the space. The leaves were done in more than ten different techniques, ranging from dots for single leaves to outlining for more complex ones. Their density adds vitality and variety to the work. 网页展示说明 石谿（1612－约1673）俗姓刘，湖南武陵人，字介丘，法名大杲，号髡残、石秃、电住道人等。二十七岁出家为僧，清顺治十一年，赴南京大报恩寺，入藏社校刻大明《南藏》。顺治十五年，至幽栖山祖堂寺为住持至终。此画构景密实，用笔浑厚，风格源自元四家之黄公望、王蒙。全幅墨色清润，树石着淡赭、石绿，并用重色敷填夹叶，增添秋意。传世石谿作品多为巨轴，本幅手卷显得特殊。(20110913) 网页展示说明 Shixi (secular surname Liu; style name Jiechiu, Buddhist name Dagao, and sobriquets Kuncan, Shitu, and Dianzhu daoren) was a native of Wuling in Hunan. He took the tonsure and became a Buddhist monk at the age of 27, traveling to the Dabaoen Temple in Nanjing in 1654, joining the Tripitaka Society to take part in proofreading the Southern Tripitaka of the Ming. Four years later he went to the Zutang Temple at Mt. Youqi, where he served as abbot until his death.The composition of this painting is dense and the brushwork simple and straightforward. The style traces back to Huang Gongwang and Wang Meng of the Four Yuan Masters. The ink tones throughout the work are pure and moist, the trees and rocks being done in light ochre and mineral green, to which heavy colors were applied to fill in the leaves, adding a touch of autumn. Many of the surviving works by Shixi are large hanging scrolls, making this handscroll all the more unusual.(20110913) 研究性论着： 石谿（1612--约1673）俗姓刘，字介丘，法名大杲，号髡残、石秃、电住道人等。湖南武陵人。二十七岁出家为僧，清顺治十一年（1654）赴南京大报恩寺，入藏社校刻大明南藏，与钱谦益、顾炎武交往，并与程正揆（1604--1676）论画。顺治十五年（1658），至幽栖山祖堂寺为住持以至于终。石谿画构景丰富繁密，与王蒙（1308--1385）相似，用笔苍劲浑厚，墨色或重浊或清润，率意自然，有「粗服乱头」之称。与渐江（1610--1664）、八大山人（1626--1705）、石涛（1642--1707）合称明末四高僧画家。本幅前段着力于描写茂林密树，后段写山石，两段都无远景，令人感觉置身于一片茂林巨石的景物之中。起首两坡夹溪，林木葱茂，用笔繁复，墨色清润，部份树叶用浓墨点染，树石着淡赭、石绿，偶尔用重色敷填夹叶，凭添几许秋意。画中之景虽繁，但间以夹叶、溪水、瀑布，虚实相生，所以显得密而不滞，丰富而多变化，是石谿盛年时期精心之作。（注）（何传馨）（注）参见何传馨，〈石谿及其茂林秋树卷〉，《故宫文物月刊》第二卷第三期，（1984年6 月），页96--101。