书体:

色彩:

设色

装裱形式:

册(折装‧纨扇式)

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

收传印记：懋和真赏
收传印记：项子京家珍藏

题跋资料:

题跋类别：作者款识；作者：阎次平；题跋位置：本幅；款识：阎次平  题籤    松磴精庐

主题:

主要主题：山水  主要主题：树木松 ；次要主题：山水江河、湖海 ；次要主题：树木竹 ；次要主题：建筑台阁 ；次要主题：建筑房舍 ；其他主题：山水山径 ；其他主题：花草  ；其他主题：花草芦苇 ；其他主题：花草藤萝 ；其他主题：建筑栏杆 

技法:

工笔 界画 皴法 

参考资料:

收藏着录： 故宫书画录（卷六），第四册，页208 收藏着录： 故宫书画图录，第二十九册，页166-169 参考书目： 1.李玉珉，〈阎次平松磴精庐〉，收入国立故宫博物院编，《宋代书画册页名品特展》（台北：国立故宫博物院，1995年初版一刷），页258-259。2.李玉珉，〈「七十件书画册页名品特展」精选(二) — 阎次平松磴精庐〉，《故宫文物月刊》，第147期（1995年6月），页70-72。3.陈韵如，〈松磴精庐〉，收入何传馨主编，《文艺绍兴：南宋艺术与文化‧书画卷》（台北：国立故宫博物院，2010年十月初版一刷），页359。 内容简介（中文）： 阎次平（活动于十二世纪末），为阎仲之子。隆兴（西元一一六三—一一六四年）初，因进图画称旨，授将仕郎画院祗候。善绘山水、人物及牛，风格与李唐略近。 于纨扇式的画幅中，写湖中石矶林立，上筑精舍，四周松竹环生，幅右石隙间，可见阎次平之小楷款书。通幅布局属南宋习见之半边式构图，虚实相映下，益显江天辽阔之致。本幅选自「名绘集珍」册第六幅。 内容简介（中文）： 画面右侧山石块面署「阎次平」款。元人称其属高宗、孝宗朝宫廷画院。画面右下绘一处山岩矶岸，岸际生长一株繁茂松树，侧有环山屋舍。随之向上，蜿蜒山径间可见两个石蹬，再有四棵松树耸峙，环绕另一处建筑。画面不见人踪，却一再流露可兹畅游观览之意，画面安排颇具诗情效果。此画山石经墨笔皴擦凹凸，再有青绿敷染块面，与〈奇峰万木〉技巧相承，皆自李唐〈万壑松风图〉一系发展而成。(20101015) 内容简介（英文）： Appearing among the rocks in the right part of the painting here is the signature for “Yan Ciping,” who a Yuan dynasty author indicated as being active in the Painting Academy at court under Emperors Gaozong and Xiaozong. By the rocky shore in the lower right part rises a verdant pine tree, behind which are buildings set amongst the mountainous forms. A path behind them winds up to two stepped rocks, where four pines grow lofty as they encircle another area of buildings. Not a single figure is shown here, but plenty of places for traveling in the imagination are suggested, the painting surface arranged with a strong lyrical quality. The volumetric texturing indicated by the brush and ink for rendering landscape elements, to which blue-and-green washes to the rock forms have been added, derives from the technique seen in “Strange Peaks and Myriad Trees.” Both are developments on that seen in Li Tang’s “Wind in Pines Among a Myriad Valleys.”(20101015) 内容简介（英文）： Yen Tz'u-p'ing was the son of the painter Yen Chung. In the Lung-hsing era (1163-1164), he presented a painting to the emperor and was rewarded with an appointment in the Imperial Painting Academy. Yen was noted for his renditions of landscapes, figures and oxen, his style emulating though not surpassing that of Li T'ang (ca. 1049-after 1130). This work, the sixth from the album Ming-hui chi-chen, was executed in the shape of a circular fan. The scene depicts a rocky promontory out in a lake, where a villa stands surrounded on all sides by pines and bamboo. On the right side of the composition, one may observe the artist's signature in standard script on a rock. The composition is in an asymmetrical format often found in the Southern Sung, in which solids and voids are often juxtaposed. Here, the concrete reality of the villa and trees is contrasted effectively with the void or vastness of the water and sky, thereby achieving the appearance of great distance within a limited space.