书体:

色彩:

装裱形式:

册(推蓬装‧方幅式)

创作时间:

明熹宗天启五年（1625）

文字类型:

质地:

本幅纸

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：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
收传印记：娄东毕沅鑑藏
收传印记：灵巖山人书昼记
收传印记：毕浣审定
收传印记：秋颿珍赏

题跋资料:

主题:

技法:

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页2022 收藏着录： 故宫书画录（卷六），第四册，页62 收藏着录： 故宫书画图录，第二十三册，页164-167 参考书目： 1.林莉娜，〈明沈士充画郊园十二景〉，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78。2.〈明沈士充郊园十二景〉，收入国立故宫博物院编辑委员会编，《园林名画特展图录》（台北：国立故宫博物院，1987年十月初版），页76。3.何传馨，〈明沈士充晴绮楼〉，收入何传馨、许郭璜编，《夏景山水画特展图录》（台北：国立故宫博物院，1991年七月初版），页105。4.侯米玲，《沈士充绘画研究》，国立师范大学美术研究所硕士论文，2004年。 内容简介（中文）： 沈士充字子居，华亭人，活动于明万历、崇祯年间（西元一五七三－一六四四年），为宋懋晋弟子，并兼师赵左。所作山水，丘壑蒨葱，笔墨厚润，为明末云间派大将。亦精通董其昌画法，部份赝董画即出于沈士充。本册计十二景，选于此者为「就花亭」、「晴绮楼」、「凉心堂」、「雪斋」四景。画家实地写生，采俯视观点，造景亲切可爱，几使人欲跨步入园同游。晚明时期，临摹古人画风己成趋势。然如沈氏此册师法自然，自成一格，至其清新雅致，直如明人小品，隽永处让人回味无穷。 内容简介（中文）： 沈士充，生卒年不详，活动于明万历、崇祯年间（西元一五七三－一六四四年），字子居，华亭（今上海松江）人，宋懋晋弟子，并兼师赵左，为明末云间派重要画家。本册画成于西元一六二五年，画家采俯视观点实地写生，描绘水榭楼阁以及山林丘壑等处十二景，造景亲切可爱，因以眞实景物入画，与一味临摹古人的作品截然不同。沈氏此册师法自然，清新雅致，敷色温润，直如隽永小品。(20110405) 内容简介（英文）： Shen Shichong (style name Ziju) was active in the Wanli and Chongzhen reigns of the late Ming (1573-1644). A native of Huating (modern Songjiang, Shanghai), he was a pupil of Song Moujin and studied under Zhao Zuo, being an important late Ming painter of the Yunjian School. In this album done in 1625 the artist realistically uses a bird’s-eye view of actual scenes, depicting a waterside building as well as mountains and valleys in a total of 12 views. The scenery is intimate and endearing. Using real scenery as the basis for painting, it differs markedly from other artists’ works patterned after the ancients. In this album Shen takes Nature as his teacher, using a fresh and elegant manner with warm colors similar to small and intimate vignettes.(20110405) 内容简介（英文）： Presented here are four leaves from the album Twelve Scenes from a Country Garden: the Flower-viewing Pavilion, Pavilion of Fair Beauty, and Pavilion for Cooling the Mind, and the Studio of Snows. The charm and intimacy of these scenes, which are painted from nature, invite the viewer on an imaginary journey into the gardens themselves. Shen’s unique, natural style here constitutes a departure from the contemporary trend of imitating past masters. The paintings’ freshness and delicacy call to mind the “small scenes,” or small landscape vignettes, of the Ming. Shen Shih-ch’ung was a native of Hua-t’ing, Kiangsu. A student of Sung Mou-chin and Chao Tso, Shen was an important painter of the late Ming dynasty Yün-chien School. His landscapes are noted especially for their verdant hills and heavy, fluid brushwork. Shen also emulated Tung Ch’i-ch’ang’s (1555-1636) painting style to perfection; a number of paintings attributed to Tung are actually by Shen’s hand.