书体:

色彩:

装裱形式:

册(折装)

创作时间:

明思宗崇祯八年（1635）

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

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），第五册，页2144 收藏着录： 故宫书画录（卷六），第四册，页93-94 收藏着录： 故宫书画图录，第二十三册，页194-197 参考书目： 1.王耀庭，〈明蓝瑛仿古山水〉，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93-94。2.林莉娜，〈明蓝瑛倣古山水〉，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。3.〈明蓝瑛倣古山水〉，收入国立故宫博物院编，《晚明变形主义画家作品展》（台北：国立故宫博物院，1977年九月初版），页302。4.本社，〈明蓝瑛仿古山水册〉，《故宫文物月刊》，第60期（1988年3月），页4-16。5.陈昱全，〈明蓝瑛泉壑山居〉，收入何传馨主编，《山水合璧：黄公望与富春山居图特展》（台北：国立故宫博物院，2011年五月初版一刷），页338-339。 内容简介（中文）： 蓝瑛（西元一五八五－一六六四年八十尚在）。钱塘人，字田叔，号蜨叟，晚号石头陀。善画山水、人物、花鸟，兰石尤绝。本幅柳塘村居，带领欣赏者进入一片春意。树之立干，房屋之置位，平坡累石，总有一份敧侧动态，平添画面灵动生趣。青绿之中，敷色颇多变化，尤其平坡石绿，虽少许着笔，却生动活泼。青绿山水与水墨之融合，虽非大片敷彩，但求其效果明豔，本幅足以当之。据同册第十二幅署年「乙亥」（一六三五），时年五十一岁所作。 内容简介（中文）： 蓝瑛（生于西元一五八五年，八十岁尚在世），浙江钱塘人。字田叔，号蜨叟，又号西湖外史，晚号石头陀。善画山水、花鸟。　此册画于崇祯乙亥（一六三五），作者五十一岁之时。册叶中仿唐宋元诸家，有粗放简澹者、设色明丽者，有雅韵宜人者，亦有苍莽沉厚者。此仿古册笔墨流畅生动，傅色多变化，虽摹古而各具面目，别有一种逸趣，为蓝氏传世之佳作。 内容简介（英文）： Lan Ying, a native of Chekiang, excelled at landscape and bird-and-flower painting. This album was done in 1635 at the age of 50. The album leaves represent copies after the styles of T’ang (618-907) and Sung (960-1279) masters. Some are done with great freedom while others reveal bright colors. Furthermore, some are elegantly refined while others are more sedate and archaic. In general, however, the brushwork is fluid and lively while the colors are varied. Although done in the manners of various ancient masters, they all reveal the unique sense of lofty naturalness indicative of Lan Ying’s style, making this one of his surviving masterpieces. 内容简介（英文）： Lan Ying (style name T’ien-shu, sobriquets Tieh-sou and Shih-t’ou-t’o) was a native of Hangchou, Chekiang. He excelled in painting landscapes, figures, flowers and birds, and especially orchids and rocks. In this vignette of dwellings by a willow bank, Lan Ying has captured the feeling of spring. The trees, the positioning of the dwellings, the embankment, and rocks all tilt slightly, producing a sense of energy and vitality. There is great variation in the coloration as well, particularly the washes of malachite on the slope which further add to the impression of liveliness. In merging the blue-and-green style with monochrome landscape painting, artists did not cover large areas with colored washes but instead strove to create a balanced composition with beautiful, exquisite colors. Lan Ying added an inscription stating that he was imitating the style of Chao Ling-jang, a Sung artist active from 1067 to 1100 who possessed a beautiful and delicate painting style. Lan Ying painted this leaf (fifth in the album Fang ku shan-shui ts’e IV), when he was fifty years old.