书体:

色彩:

设色,泥金

装裱形式:

册(折装‧椭圆幅式)

创作时间:

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
收传印记：黔宁王子子孙孙永保之

题跋资料:

题跋类别：题签； 裱纸 ；书体：楷书；全文：朱锐山阁晴岚

主题:

主要主题：山水  ；其他主题：山水江河、湖海江河；其他主题：山水石磴、栈道石磴；其他主题：人物高士（士人、隐士） ；其他主题：人物侍从（侍女、童仆） ；其他主题：树木  ；其他主题：树木松 ；其他主题：花草藤萝 ；其他主题：建筑台阁 ；其他主题：建筑栏杆 

技法:

皴法斧劈皴

参考资料:

收藏着录： 石渠宝笈三编（干清宫），第二册，页605-606 收藏着录： 故宫书画录（卷六），第四册，页220-221 收藏着录： 故宫书画图录，第三十册，页40-45 参考书目： 1.王耀庭，〈宋朱锐山阁晴岚〉，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81。 内容简介（中文）： 画山村小景，小径蜿蜓而上，高士持杖童仆跟随于后。山顶筑有高低错落寺观数进，低矮廊屋围绕着中央殿阁。山水绘法略似李唐而较灵巧，设色雅净，布景属于南宋对角线构图作风。此图为青绿山水，但不全面敷染，仅于山峦巖石上，加添重青绿色。原籤题为「朱锐」。同册宋祝次仲（十二世纪中叶）「苍矶清樾」与此图笔意相近，应是同一人所作。 本幅选自「宋人集绘」册第二开。 内容简介（中文）： 朱锐，河北人。北宋宣和初授画院待诏。南宋绍兴年间复职，授建功郎，赐金带。工画人物山水，师法王维，尤好写骡纲、雪猎、盘车等图。形容布置，曲尽其妙。宋人青绿山水，常有不全面敷染，往往于山峦巖石上方，置较重青绿色，本幅可为一例。本幅无款印，依旧籤定名。案同册第五幅，籤题为「宋祝次仲苍矶清樾」，画风完全一致，应是同出一手。本幅是否出于朱锐，待考。然论布局之清远，笔墨之灵巧，与设色之雅净，非南宋高手莫办。 内容简介（英文）： hu Jui, a native of Hopei, served as a Painter-in-Attendance in the Imperial Painting Academy during the Hsüan-ho period (1119-1125). In the Shao-hsing period (1131-1162), he was reinstated as a painter at court. He was skilled in painting figures and landscapes, and studied the style of Wang Wei. He particularly liked painting fishing nets, hunting scenes in the snow, and horse carts. He was a master at painting details and constructing interesting compositions.In blue-and-green landscape painting of the Sung dynasty, there is the tendency not to cover the entire painting with colors but to paint the tops of mountains and rocks with heavy blue and green pigments, as in this painting. This painting bears neither signature nor seals of the artist, but has a label attributing it to Chu Jui. It is similar in style to the fifth leaf in the album An-t'ung ts'e by chu Tz'u-chung, and in fact, both leaves appear to be by the same hand. This painting cannot be securely attributed to Chu Jui at this time, but only Southern Sung artists of great skill can paint a work with such a fine composition, such expert handling of brush and ink, and such elegant, light coloration. 内容简介（英文）： In this intimate mountain scene, a path winds to a scholar with a staff as an attendant follows. At the top is a temple complex where a low hallway surrounds a central courtyard building. The landscape method is slightly similar to that of Li T’ang (1049-after 1130) but is lighter and more spirited. The coloring is also elegant, and the composition belongs to the Southern Sung one-corner style. In this blue-and-green landscape, only the hills and cliff rocks are adorned with heavier azurite and malachite. Chu Jui is given as the artist, but the style is similar to Chu Tz’u-chung’s Verdant Rocky Shore in Clear Shade, the 5th leaf in “Collected works by Sung Painters” Both were likely done by the same hand. This is the 2nd leaf from that album.