书体:

色彩:

设色

装裱形式:

册(折装‧椭圆幅式)

创作时间:

文字类型:

质地:

本幅绢对幅纸

释文:

印记资料:

鑑藏宝玺：古希天子
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：太上皇帝之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：题签； 裱纸 ；书体：楷书；全文：燕文贵奇峰万木。

题跋类别：题跋；作者：清高宗对幅 ；书体：行书；全文：（乾隆癸卯御题。文不录。）印记：卍有同春、笔花春雨

主题:

主要主题：山水  ；次要主题：树木松 ；其他主题：山水云 

技法:

皴法 皴法斧劈皴

参考资料:

收藏着录： 石渠宝笈续编（御书房），第四册，页2056 收藏着录： 故宫书画录（卷六），第四册，页210 收藏着录： 故宫书画图录，第三十册，页34-39 收藏着录： 国宝的形成-书画菁华特展，页68-71、305 参考书目： 1.何传馨，〈宋燕文贵奇峰万木〉，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92。2.何传馨，〈燕文贵奇峰万木〉，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256。3.陈韵如，〈（传）燕文贵奇峰万木〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页110。4.〈宋燕文贵奇峰万木〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页212。5.本社，〈北宋燕文贵奇峰万木〉，《故宫文物月刊》，第53期（1987年8月），页1。6.许郭璜，〈宋燕文贵奇峰万木〉，《故宫文物月刊》，第200期（1999年11月），页34。7.陈韵如，〈奇峰万木〉，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357-358。8.廖尧震，〈微醺西湖畔，对影六七幅　南宋小景山水的诗情画境〉，《典藏古美术》，第217期(2010年10月)，页102-109。 内容简介（中文）： 燕文贵（西元九六七至一○四四年），浙江吴与人。原隶军中，太宗朝退伍，在京师（河南开封）随郝惠学书，被画院待诏高益发掘，荐入朝廷，补图画院祗侯。善画山水、人物、舟车，尤善于画四季景物，清雅可爱，号为「燕家景」。 高山景色，远山皆在云气之上，近景祇露山巅。画山画树，笔法与院藏李唐江山小景卷甚为接近。惟树木干与叶之用笔，及设色情况，较江山小景卷稍觉柔和。当系属同一画风之作品。为宋人合璧画册中之一开。 内容简介（中文）： 此作签题旧称「燕文贵奇峰万木」，但实与李唐风格相近。画面以青绿设色绘三组山体，间隔以云雾留白。画幅右下为近景，以数峰相接组而成，画幅左侧为中景，仅见垂直尖瘦的数个山峰，下半则留白表现烟云；再远处，又有借墨染勾勒轮廓而成的远山。此画恰可视为〈万壑松风〉与〈江山小景〉之间的转折点。三组山体巧妙呼应，又有留白的云雾加以衬托，画面尺幅虽小却别具远眺辽阔效果。(20101015) 内容简介（中文）： 此一高山景色，远山皆在云气之上，近景祇露山巅。其笔法与院藏李唐〈江山小景卷〉甚为接近，且更显露年代较早的面貌。特别是在山石块面的分割，利用更多皴染来经营质面。 画无款印，现代学者大多认为是李唐（约1070－1150），或南宋学李唐者的作品，与活动于北宋时期的院画家燕文贵（活动于十世纪后半－十一世纪前半）无关，旧籤题不确。可能是南宋初，受李唐影响的画家的精心之作。(20061206) 内容简介（英文）： In this scenery of tall mountains, the distant peaks appear floating among the clouds and mist as a mountaintop protrudes in the foreground. The brushwork is quite similar to that of “Landscape” by Li T'ang also in the National Palace Museum collection and suggests the appearance of an even earlier style. In particular, the division of the surfaces of the rock forms in the mountains reveals even more washes to create the texture. The painting bears no seal or signature of the artist, but modern scholars generally believe it is a work by Li T'ang (ca. 1070-1150) or a Southern Sung painting in his style. In either case, it is mostly likely unrelated to the Northern Sung court painter Yen Wen-kuei. Thus, ignoring the traditional label given to this work, it might be of the early Southern Sung and representing the painstaking effort of an artist influenced by Li T'ang.(20061206) 内容简介（英文）： This work bears an old label that reads, “Strange Peaks and Myriad Trees by Yan Wengui,” though the style is actually closer to that of Li Tang. Three sets of mountain forms separated by blank areas representing clouds have been depicted in blue-and-green coloring and distributed in the surface of the painting. The foreground is in the lower right and consists of several peaks connected to form a group. The cluster to the left forms the middleground, with only a few spindly peaks depicted and their bases completely enshrouded in clouds. In the far distance are some mo untains that have been outlined using washes of ink.This work can be viewed as a turning point from Li Tang’s “Wind in Pines Among a Myriad Valleys” to “Intimate Scene of Rivers and Mountains” in the latter half of the twelfth century. The three sets of mountains here clever echo each other and are set off against the blank areas representing clouds and mists. Despite the small surface of the painting, it still conveys a sense of expansiveness and distance.(20101015) 内容简介（英文）： Yen Wen-kuei came from the Wu-hsing district of Chekiang, During the reign of Emperor T'ai-tsung (967-998) he was discharged from military service and started to learn painting under Ho Hui. His abilities were noticed by the academician Kao I, who then introduced him at court. Yen was then appointed an attendant in the Painting Academy. He was a capable landscapist, and also depicted figures, animals, boats and vehicles. However, he specialized in painting the four seasons. His style was refined, delicate and charming, and he was given the nickname "Master Yen the Landscapist." In this scene of lofty mountains, the distant peaks are seen emerging above the clouds, while only the very tops of the foreground mountains are visible. The method of painting mountains and trees is very similar to that found in Li T'ang's (1049-1130) handscroll "Small Scene of River and Mountains." but the rendering of the tree trunks and branches and the use of color are softer in this album leaf. "Strange Peaks and Myriad Trees" is a leaf in the album Sung-jen ho-pi hua, where it is labeled as a painting by Yen Wen-kuei. 研究性论着： 本幅画高山景色，近景由主山与两侧坡石构成，岩石向两侧与前方开面，以横斜方向的皴擦，表现不同的质地和凹凸深浅的层次。其上林木蓊郁，因在高山之上，尽是松杉一类的针叶木，间杂几株深墨密点之树，幽深郁密，若层层屏障，高低参差，与远山遥相呼应。远山都在云气之上，左侧群峰耸峙，如列柱插天，右侧对应前景山凹处，再起数峰，渐远渐小渐淡，而有无穷深远之势。画无款印，现代学者大多认为是李唐（约1049--1130），或南宋学李唐者的作品，与活动于北宋时期的院画家燕文贵（约967 --1044）无关，旧籤题不确。（注）从山石的造形，树法，点苔来看，与本院藏李唐的名作「江山小景」相似，不过染色较淡，墨笔皴擦历历可见，勾勒山石轮廓及画树点叶的用笔较为柔和，可能是南宋初，受李唐影响的画家的精心之作。燕文贵，浙江吴兴人，北宋前期画院画家，长于山水，兼善人物、界画。山水多作巨嶂高壁，人物，楼观布置精巧，号为「燕家景」。（注）参见James Cahill, Chinese Painting, （Geneva:Skira, 1960 ）,p.40 。鸠田英诚，〈燕文贵之传称作品〉，《美术史》，101 号（1976），页47。铃木敬着，魏美月译，〈试论李唐南渡后重入画院及其画风之演变（下）〉，《故宫季刊》，第十七卷第四期（1983），页72--73。