书体:

色彩:

水墨

装裱形式:

册(折装‧方幅式)

创作时间:

元顺帝至正二十五年（1365）

文字类型:

质地:

本幅纸

释文:

印记资料:

作者印记：陈惟允印
收传印记：长安
收传印记：秋水轩
收传印记：（一印不识。葫芦印）

题跋资料:

题跋类别：题跋；作者：倪瓒；题跋位置：本幅；款识：陈惟允画。倪元镇书。至正乙巳（西元一三六五年）九月。；书体：行楷书；全文：慈母手中线。游子身上衣。临行密密缝。意恐迟迟归。难将寸草心。报答三春晖。陈惟允画。倪元镇书。至正乙巳（西元一三六五年）九月。

主题:

次要主题：人物仕女 ；次要主题：人物侍从（侍女、童仆）童仆；次要主题：树木杨柳柳树；次要主题：建筑房舍 ；其他主题：人物百姓 ；其他主题：树木竹 ；其他主题：花草  ；其他主题：车兽力车马车

技法:

白描 写意 皴法披麻皴人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 石渠宝笈初编（重华宫），上册，页727 收藏着录： 故宫书画录（卷六），第四册，页250 收藏着录： 故宫书画图录，第二十九册，页314-319 参考书目： 1.蒋复璁，〈倪瓒书游子吟题陈惟允诗意图〉，收入国立故宫博物院编，《元四大家》（台北：国立故宫博物院，1975年初版，1976年二版，1984年三版），页63。2.马孟晶，〈陈惟允诗意图〉，收入刘芳如、张华芝主编，《群芳谱 — 女性的形象与才艺》（台北：国立故宫博物院，2003年初版一刷），页143。3.林柏亭、张华芝，〈明陈汝言画唐人诗意〉，收入林柏亭、张华芝编，《画马名品特展图录》（台北：国立故宫博物院，1990年元月初版），页94-95。 内容简介（中文）： 陈汝言（约活动于十四世纪中叶），字惟允，号秋水，临江（江西靖江）人，寓苏州。汝秩之弟，与兄齐名，有大髯小髯之称。工诗画，倜傥有谋略。善山水，兼工人物。　柳阴下，仆役忙着搬运行囊至马车。屋内，一人行将远游，其母坐榻上赶缝衣裳。陈氏以追法宋马和之的风格，描绘孟郊的「游子吟」，极古雅清逸，与倪瓒的题诗，可谓珠联璧合。倪瓒之题，年款为至正乙巳（西元一三六五年）九月，本幅当亦画于此顷。 内容简介（中文）： 陈汝言（活动于西元十四世纪中叶）字惟允，号秋水，临江（今江西靖江）人，寓吴县（今江苏苏州）。工诗画。画山水宗赵孟頫，清润可爱，兼工人物。水墨画唐孟郊诗意，画笔古雅清逸，无尘俗气，全学马和之；倪瓒书原诗，笔意硬拙挺捷，款题至正乙巳（一三六五），时倪瓒六十五岁。书画均佳，可谓珠联璧合。本幅选自「集古图绘」册。 内容简介（英文）： Ch'en Ju-yen, a native of Kiangsi province who resided in Soochow, was gifted at poetry and painting. In landscape painting, he followed after Chao Meng-fu for a pure and understated style. He also did figure painting. This monochrome ink painting was inspired by the T'ang poetry of Meng Chiao. The brushwork is archaic and untrammeled, untainted by worldly cares. It is completely in the style of Ma Ho-chih. Ni Tsan inscribed the original T'ang poem on this work, and his brushwork is taut and intentionally awkward. Ni's inscription is dated to 1365, when he was 64. Both painting and calligraphy form an ideal complement. This is from the album Collection of Ancient Paintings. 内容简介（英文）： Ch’en Ju-yen (style name Wei Yün, sobriquet Ch’iu Shui) was originally from Lin-chiang (present day Ching-chiang, Kiangsi) but he resided in Soochow. He was the younger brother of Ch’en Ju-tzu, and his fame equals that of his elder brother. Together, they have been nicknamed “big beard” and “small beard.” Ch’en Ju-yen was resourceful and free of manner, and was well-known as both a painter and poet. He specialized in landscapes and figures. In the shade of a willow tree, a servant transports baggage to a carriage. Indoors, a man hurriedly prepares for a long journey, his mother sits on the couch rushing to finish sewing his clothes. Ch’en uses the manner of Ma Ho-chih, a Sung dynasty painter, to illustrate Meng Chiao’s poem “A Wanderer’s Chant.” A sense of archaism pervades the scene. The painting is inscribed by the famous painter Ni Tsan, and the inscription is dated the ninth month of 1365, during the Yüan dynasty. It is said that the painting and the poem are perfectly suited to each other.