书体:

色彩:

青绿,设色

装裱形式:

卷

创作时间:

清圣祖康熙七年（1668）

文字类型:

汉文

质地:

本幅绢

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：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：御书房鑑藏宝
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：吴历；题跋位置：本幅；款识：雨歇遥天海气腥。树连僧屋雁连汀。松风谡谡行人少。云白山青冷画屏。戊申（西元一六六八年）九月六日。予从毘陵归虞山。风雨寂寥中。有啜茗焚香之乐。八日晚晴。喜而图此。吴历并题。；书体：楷书；全文： 印记：吴历、桃溪居士、渔山、墨井、墨井草堂、桃溪居士

主题:

主要主题：山水  ；次要主题：建筑寺庙 ；次要主题：树木松 ；其他主题：树木竹 ；其他主题：建筑碑路碑；其他主题：山水云 ；其他主题：花草藤萝 ；其他主题：人物行旅 ；其他主题：山水山径 ；其他主题：建筑房舍 ；其他主题：山水瀑布 ；其他主题：山水石磴、栈道石磴；其他主题：翎毛  ；其他主题：花草  ；其他主题：树木  ；其他主题：山水溪涧、湍泉溪涧；其他主题：器用挑担 

技法:

工笔 写意 皴法披麻皴人物衣纹描法(减笔) 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1070 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205-208 参考书目： 1.王耀庭，〈清吴历云白山青图〉，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95-96。2.童文娥，〈清吴历云白山青图〉，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332。 内容简介（中文）： 吴历，（西元一六三二至一七一八年），江苏常熟人，字渔山，号墨井道人。擅长绘画，与王翬同受业于王鑑、王时敏，画名与王时敏、王鑑、王翬、王原祁、恽寿平相等，世称「四王吴恽」。惟因壮年后，信奉基督虔诚，热心传教工作，疏于绘画，所以作品流传后来甚少。此幅山水画作于三十七岁（西元一六六八年），临摹古画功力极深，于青绿着色者尤有独到之处，气息颇近似宋元人作品，通卷皆用青绿红白重色，而能不觉躁浊，于清虚灵动中妙造自然。 内容简介（中文）： 吴历（西元一六三二至一七一八年），江苏常熟人，字渔山，号墨井道人。擅长绘画，与王翬同受业于王时敏，画名与清初四王及恽寿平相等，世称「四王吴恽」。壮年后信奉天主，热心传教，疏于绘画，作品流传后来甚少。此幅作于三十七岁（西元一六六八年），临摹古画功力极深，于青绿着色者尤为独到，气息颇近似宋元人，通卷皆用青绿红白重色，而不觉躁浊，清虚灵动中妙造自然。 内容简介（英文）： Wu Li, native to Ch’ang-shu, Kiangsu, was along with Wang Hui a student of Wang Chien and Wang Shih-min. These four are often grouped among the “Six Early Ch’ing Masters.” In the prime of life Wu Li converted to Catholicism and devoted himself to missionary work, so few of his paintings survive. This work was done at the nominal age of 37 (1668), Wu’s style based on a careful study and understanding of early masters. He was quite skilled at the archaic “blue-and-green” landscape style, approaching the achievements of Sung and Yüan dynasty masters. Though this handscroll is done in bright, opaque colors of blue, green, red, and white, there is no confusion or muddiness. Wu created an exquisitely natural work filled with spirit and movement. 内容简介（英文）： Wu Li, style name Yü-shan, sobriquet Mo-ching tao-jen, was a native of Ch’ang-shou, Kiangsu. He and Wang Hui were both students of Wang Chien and Wang Shih-min. These four are often grouped with Wang Yüan-ch’i and Yün Shou-p’ing as the “Six Masters of the Early Ch’ing” or as “The Four Wangs, Wu, and Yün.” After 1679, however, Wu Li converted to Christianity and later entered the Jesuit order. He was ordained in Macao in 1688 and devoted the rest of his life to missionary activities in Nanking and Shanghai. Wu Li’s landscape style was based on a careful study and thorough understanding of the early masters. He was particularly skilled at the archaic “blue and green” style of landscape. In this genre, he approached the achievements of the Sung and Yüan masters. Although this handscroll was executed in bright, opaque pigments of blue, green, red, and white, there is no sense of confusion or muddiness. This painter has created an exquisitely natural work filled with movement and spirit. This painting was executed when the painter was thirty-six years old. 网页展示说明 吴历（1632－1718），江苏常熟人，字渔山，号墨井道人。擅长绘画，为清初六家之一。山水以黄公望为基，得力于王蒙，笔力苍浑厚重。全幅以青绿重色画成，龙脉曲折蜿蜒，群峰环翠，富节奏变化。用笔皴擦钩勒，错综复杂。此帧造境入妙，浓淡布置得宜，青绿设色尽情，却不掩墨笔的挥洒，可说突破传统力作。中年以后改信天主教，以传教为志，流传作品稀少，故此件作品更显独特与珍贵。(20110913) 网页展示说明 Wu Li (style name Yushan, sobriquet Mojing daoren), a native of Changshu in Jiangsu, excelled at painting and was one of the Six Masters of the Early Qing. His landscape style was based on that of Huang Gongwang while gaining much from Wang Meng’s manner, his brush force being hoary and substantial.This painting was done in heavy colors focusing on blue and green hues, the veins of the mountains snaking through the composition with verdant rings of clustered peaks for rich and harmonic variations. The brushwork, texturing, washes, and outlining are intricate and complex, the scenery in this painting being marvelous and the arrangement of light and dark appropriate. The artist indulged in blue-and-green coloring but did not overwhelm the brush and ink, making for a masterful work that can be said to go beyond tradition. In his middle years, Wu Li converted to Christianity and devoted himself to missionary work. He thus left behind extremely few works, making this one all the more distinctive and precious.(20110913)