书体:

色彩:

装裱形式:

册(折装)

创作时间:

文字类型:

质地:

本幅纸前副叶纸后副叶纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
收传印记：毕泷鑑藏图书
收传印记：就兰主人鑑藏
收传印记：毕泷涧飞氏藏
收传印记：毕泷书画图章

题跋资料:

题跋类别：题跋；作者：王撰前副叶八十五叟王撰题；书体：隶书；全文：超逸绝尘印记：王撰异公、随菴老人、鱼隈半席

题跋类别：题跋；作者：王撰后副叶一娄水八十五老人王撰跋 墨井道人。博物工诗。夙推风雅。更以丹青擅胜。渔山之名。着闻远近。昔年卜居海虞。与耕烟山人。争奇竞秀。并为先君所推重。后以虔事西教。未暇寄情绘染。故迩年来欲觅其片纸尺幅。竟不可得。今观此册。未知何时所作。遍倣宋元诸家。曲尽其妙。其苍浑秀润。真得董巨一峰之神。秾丽高华。直探松雪大年之髓。末后仿倪高士一帧。尤深入云林三昧。岂时流手笔所能望其肩背耶。今为名家鑑藏。永作枕中之祕。馀得展观亦厚幸矣。因僭题数语于后。娄水八十五老人王撰跋。印记：异公氏、太原八十五翁、随庵

题跋类别：题跋；作者：王撰后副叶二乾隆辛丑秋杪竹癡道人毕泷识于抱云书屋 馀观夫渔山之画凡三变。早年之笔幽秀欲绝。其神味尚似王廉州。壮年刻意摹倣宋元。邱壑位置。怪怪奇奇。超出寻常畦迳之外。洎乎晚年。从墺中归又一变。而荒率苍古胜矣。盖其人品既高。学问渊博。昔东磵老人题其桃溪诗序有云。渔山不独善画。其于诗尤工。思清格老。命笔造微。盖亦以其画为之。东磵之言如是。宜其画与庸史不同。况师承有自。从廉州奉尝游。时时得观前人名迹。笔墨之造乎神妙。洵非无因也。此册是渔山晚年之作。种种妙处。王随庵论之详矣。馀何容赞一言。乾隆辛丑秋杪竹癡道人毕泷识于抱云书屋。印记：毕泷、广堪斋主、巢安

题跋类别：题跋；作者：毕泷前副叶（后背）乾隆四十六年四月重装毕竹癡记 此册得之加定南翔镇叶氏用价元银八十两乾隆四十六年四月重装毕竹癡记。

主题:

技法:

参考资料:

收藏着录： 故宫书画录（卷六），第四册，页143-145 收藏着录： 故宫书画图录，第二十三册，页378-381 参考书目： 1.马晋封，〈清吴历橅宋元十家山水册一十之一〉，《故宫文物月刊》，第40期（1986年7月），页122-123 。2.马晋封，〈清吴历橅宋元十家山水册一十之二〉，《故宫文物月刊》，第41期（1986年8月），页98-99。3.马晋封，〈清吴历橅宋元十家山水册一十之三〉，《故宫文物月刊》，第42期（1986年9月），页72-73。4.马晋封，〈清吴历橅宋元十家山水册一十之四〉，《故宫文物月刊》，第43期（1986年10月），页134-135。5.马晋封，〈清吴历橅宋元十家山水册一十之五〉，《故宫文物月刊》，第44期（1986年11月），页32-33。6.马晋封，〈清吴历橅宋元十家山水册一十之六〉，《故宫文物月刊》，第45期（1986年12月），页78-79。7.马晋封，〈清吴历橅宋元十家山水册一十之七〉，《故宫文物月刊》，第46期（1987年1月），页74-75。8.马晋封，〈清吴历橅宋元十家山水册一十之八〉，《故宫文物月刊》，第47期（1987年2月），页36-37。9.马晋封，〈清吴历橅宋元十家山水册一十之九、十〉，《故宫文物月刊》，第48期（1987年3月），页90-92。10.马晋封，〈清吴历橅宋元十家山水册一十之九、十〉，《故宫文物月刊》，第48期（1987年3月），页90-92。 内容简介（中文）： 吴历（西元一六三二－一七一八年），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，为清初六家之一。惟因壮年后，信奉天主虔诚，热心传教工作，疏于绘画，作品传世甚少。本册题名「橅宋元人山水」，这是清代初期画坛主要的风气之一。吴历期望从宋元等前辈名家的作品，集合出众家长处。全册十开未署年月，据毕泷（活动于十八世纪）跋，谓是晚年从澳门归后所作。乾隆时毕泷用银八十两购藏，嘉庆时始进宫。 内容简介（中文）： 山水画历经宋元两朝，累积了丰富优良的传统，融合各家各派的长处，正是清朝初期画家所要追求学习的，这样的风格，在表面上看来，某幅画学自某人，非常的清楚，甚至画坛有「人人一峰﹙元、黄公望，一二六九－一三五四﹚家家山樵﹙元、王蒙，一三０八－一三八五﹚」的现象，而被认为是泯灭艺术最重要的个性创造。然而，却不能如此单纯的评论，毋宁说是清初画家以较含蓄的方式，透过古人来表达自己。欣赏本册的前提应有如是的观念。本册共十幅，第一幅青绿设色，用笔用墨均温文柔雅，追摹的对象是元代赵孟頫﹙一二五四－一三二二﹚的风格。第二幅、第七幅山势峥嵘，石骨崚嶒，山之四面斩绝，而少林木，一派河溯山岳气象，正是五代荆浩、关仝﹙均活动于十世纪﹚一系的作风。第四幅，主山堂堂，巨峰顶立，来自北宋范宽﹙活动于十一世纪﹚一系的面貌，皴法用麻披，又融会了巨然的作风。第三幅画的是江南水乡，杨柳依依，小艇往来，渔翁牵罟。第五幅，画的也是江南水乡，岸边孤舟独泊，绿波间，荷香飘荡，鸬鹚成群，晴空中，雁行阵阵。这两幅，空灵疏朗，得之于赵令穰﹙活动于十一世纪﹚。第六幅，青山在望，白云湧起，古寺丛林，掩映其中，小桥流水，村舍临水建筑，笔法上用点，应是得之于米芾﹙一０五一－一一０七﹚云山。第八幅，临江微倾的巨巖，岸边泊一舟，船头白衣人，神态悠然，似是来此怀古。吴历擅青绿设色，但不因色胜而减笔墨之趣，恰如第一幅，山顚水涯，施绿布丹，自然界彩色之妙，全然出现笔下，而水际空明，布景偏于角落，取径于南宋人。第九幅之布局及笔法大致出于黄公望。第十幅，一河两岸，则来自倪瓒﹙一三０一－一三七四﹚。两幅淡墨滃染，柔秀韵味，正是元朝人特色。全册虽学自各家，但是整体用笔、用墨、设色仍然非常一贯。一股雅淡的意味，也正是吴历个人的特色。 内容简介（英文）： Landscape painting, having evolved through the Sung and Yüan dynasties, developed into a rich tradition which incorporated the various strengths of past schools. Artists of the early Ch’ing dynasty especially pursued the study of ancient masters, and references to them were clearly recognizable. There even emerged the phenomenon of everyone studying the Yüan masters Huang Kung-wang (1269-1354) and Wang Meng (1308-1385). This practice was acknowledged as having stifled individual creativity. However, such an evaluation of Ch’ing painting is rather simple, and, in fact, it should be noted that early Ch’ing dynasty painters used the subtle method of expressing themselves through the ancient masters. There are ten leaves in this album. This first leaf, executed in ink with mineral blue and green pigments, is in the style of the Yüan artist Chao Meng-fu (1254-1322). The brushwork and ink quality is refined and elegant. In the second and seventh leaves, the styles of Ching Hao and Kuan T’ung (act. ca. 10th cent.) are emulated. The mountains are extremely precipitous with steep rocks, and the trees are sparse. The entire scene gives an impression of vast mountains and rivers. 内容简介（英文）： In the fourth leaf, the monumental mountain with its towering peak is derived from the northern Sung artist Fan K’uan (act. ca. 11th cent.). The hemp-fiber strokes used to give texture to the mountains are a reference to Chü-jan’s style. A water village of the Kiangnan region is depicted in the third leaf. Willows sway, a long narrow boat drifts by, and a fisherman works a fishing net. The fifth leaf is also a scene of a water village in Kiangnan. A lone, empty boat is moored by the bank and lolls between the waves. The fragrance of lotuses seems to drift along, pervading the scene. Cormorants congregate into a flock on the water, and wild geese fly in a v-formation in the cloudless sky. These two leaves, characterized by the spacious and clear atmosphere, were inspired by Chao Ling-jang (act. ca. 11th cent.). In the sixth leaf, white clouds rise up from the mountains. An ancient temple is hidden within the lush forest, and a small bridge spans a stream, beside which the village houses were built. 内容简介（英文）： The brushwork is composed of many dots, inspired by Mi Fu’s (1050-1107) brushwork in his Cloudy Mountains. In the eighth leaf, Wu Li has depicted a huge rock cliff leaning over the river. A figure wearing white clothing sits in the bow of the boat moored by the bank. He seems lost in meditation as though he came here to reminisce about the past. Wu Li has used blue-green pigments, but the color has not overpowered the beauty of his ink and brushwork. This is very similar to the first leaf. The mountains and water have been painted with touches of green and cinnabar. The colors of nature all appear in this painting. This composition, concentrated in one corner, is derived from southern Sung (1127-1279) artists. In the ninth leaf, the composition and brushwork basically follow that of Huang Kung-wang, while the style and composition of the tenth leaf composed of two banks and a river originated with Ni Tsan (1301-1374). The pale ink and gentle, elegant rhythm in these leaves are characteristics of Yüan dynasty artists. Although Wu Li painted this album after different masters, it is evident that the brushwork and use of ink and color are very much by one hand. The elegant and refined air in the album reflects Wu Li’s own style. 内容简介（英文）： Wu Li, style name Yü-shan, sobriquet Mo-ching tao-jen, was a native of Ch’ang-shu, Kiangsu province. He excelled in painting and with Wang Hui studied under Wang Chien and Wang Shih-min. He is known as one of the six great painters of the Ch’ing dynasty. There are very few of his works because in his middle age he became a devout Catholic and fervently took up missionary work, thus painting less frequently. This album, Landscapes after Sung and Yüan Masters, represents one of the main stylistic trends in early Ch’ing painting. Wu Li’s hope was to assemble the various strengths of Sung and Yüan masters. The album consists of ten leaves. The inscription carries no date, but according to the colophon by Pi Lung (act. ca. 18th cent.), this is a late work executed after Wu Li returned from Macao. Pi Lung recorded that during the Ch’ien-lung period (1736-1796) he purchased the work for 80 liangs of silver. The album did not become part of the Imperial Palace Collection until the Chia-ch’ing period (1796-1821).