书体:

色彩:

装裱形式:

册(折装)

创作时间:

文字类型:

汉文

质地:

本幅纸后副叶纸

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：宝玺三编
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鉴玺
收传印记：与白氏
收传印记：松下清斋

题跋资料:

题跋类别：题跋；作者：方亨咸后副叶壬子四月。方亨咸识。；书体：草书；全文：画则曹倪。书则米赵。诗则王孟。得一即可踞胜千古。况兼之乎。能不令人辟易三舍。壬子四月。方亨咸识。印记：龙眠方亨咸邵邨图书

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2148 收藏着录： 故宫书画录（卷六），第三册，页103 收藏着录： 故宫书画图录，第二十三册，页294-297 内容简介（中文）： 查士标（西元一六一五－一六九八年），字二瞻，号梅壑。安徽休宁人，流寓江苏扬州。明朝亡后，弃科举专事书画。家中收藏古器物、宋元书画颇丰，并精鑑别。书学米芾，却似董其昌；画初学倪瓒，后参吴镇。文人画当道，以诗画呈现，本册所见，画中景致，正如诗文所描述。看画读诗，诗引画意，画呈诗境，倍觉一股出尘不染的意味。画中单用墨笔，且以枯墨为多，画景正与后世评其画之「用笔不多，丰神荒寒」侔合。书法学董其昌，行间笔调清雅，与画中情境颇为相称。 内容简介（中文）： 释文：僊楼高峙隐晴晖。鹿过幽溪觅紫芝。洞里不同城市色。花开如锦草离离。士标水满平湖燕子来。夭桃弱柳已胚胎。便操小艇湖头去。领取春光次第开。查士标。海岳庵前路。无人认旧踪。朝来新雨过。天外秀芙蓉。查士标。今年秋较晚。木叶未全凋。莫负新晴好。闲来度小桥。士标。山光雨后润。树杪响层泉。墨花鲜欲滴。此意道人传。士标题。春暖桃溪绿。风翻柳浪茸。小舟随去住。鼓枻意无穷。士标。江天秋水长。欲雨似潇湘。雁落征帆远。青山是岳阳。查士标。乱石冈头黄叶稀。西风驴背夕阳微。联吟不觉归来晚。及至吟成又不归。士标画邵邨先生诗意。 内容简介（英文）： Album of Painting and CalligraphyCha Shih-piao (1615-1698)Ch’ing Dynasty Cha Shih-piao (style name Erh-chan and sobriquet Mei-huo) was a native of Hsiu-ning, Anhwei, who resided in Yangchow, Kiangsu. After the fall of the Ming dynasty in 1644, he gave up hope of passing the civil service examinations and focused on painting and calligraphy instead. His family had a rich collection of antiquities, including Sung and Yüan painting and calligraphy, which he studied to cultivate his connoisseurship skills. In calligraphy, he studied the style of Mi Fu (1052-1107) to create a manner similar to that of Tung Ch’i-ch’ang (1555-1636). In his early paintings, he followed the style of Ni Tsan (1301-1374), later studying that of Wu Chen (1280-1354). In the scholar painting of Cha Shih-piao’s time, both painting and poetry were often combined together, as seen in this album. The paintings here depict marvelous scenery, just as described in the poetry and prose. Viewing the paintings and reading the poems, they complement and enhance each other’s qualities to cultivate an atmosphere of unspoiled refinement and elegant purity. Only ink was used in these paintings, often appearing slightly dry and scorched. These landscapes fit later descriptions of his paintings as having “Limited brushwork and a desolate atmosphere.” The style of the calligraphy here follows in the tradition of Tung Ch’i-ch’ang (1555-1636) with the brushwork and spacing being rhythmic and elegant. Here, they form an ideal complement to the painting.