书体:

色彩:

设色,青绿

装裱形式:

册(折装‧纨扇式)

创作时间:

文字类型:

质地:

本幅绢对幅纸

释文:

印记资料:

作者印记：赵氏子昂
鑑藏宝玺：石渠宝笈
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宝笈三编

题跋资料:

题跋类别：题跋；作者：宇文公谅；题跋位置：本幅；款识：子贞；书体：行楷书；全文：山色青冥外。泉流紫翠中。茆亭如借我。长啸答松风。子贞。印记：宇文子贞

题跋类别：题跋；作者：清仁宗对幅 ；书体：楷书；全文：（嘉庆甲戌御题。诗文不录。）印记：天形得妙、玉润金生题籤   ；书体：楷书；全文：赵孟頫画茅亭松籁。

主题:

主要主题：山水  ；次要主题：山水江河、湖海江河；其他主题：山水溪涧、湍泉 ；其他主题：山水瀑布 ；其他主题：树木松 ；其他主题：建筑亭 ；其他主题：人物高士（士人、隐士）士人；其他主题：树木寒林．枯树枯树；其他主题：树木  

技法:

皴法 写意 苔点 人物衣纹描法(减笔) 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2515 收藏着录： 故宫书画录（卷六），第四册，页234 收藏着录： 故宫书画图录，第二十八册，页264-270 参考书目： 1.王耀庭，〈元赵孟頫茅亭松籁〉，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85-86。2.许郭璜，〈元赵孟頫茅亭松籁〉，收入《李郭山水画系特展》（台北：国立故宫博物院，1999年初版），页39-42。 内容简介（中文）： 赵孟頫（西元一二五四－一三二二年），浙江吴兴人，字子昂，号松雪道人。本宋宗室，宋亡仕元，至翰林学士承旨，封魏国公，諡文敏。本幅松树及巖石的造形出于李成、郭熙一系。山峰重于勾轮廓，而少皴笔。敷色先以赭石打底，再分别由峰顶以石青、石绿罩染。青绿与赭色的搭配，显得沉厚中有一份古雅，衬托出万般俱静，但闻松籁，所谓天人合一的气氛。 内容简介（英文）： Chao Meng-fu, a native of Chekiang province, was a scion of the Sung who also served under the following Yüan in the Hanlin Academy. He was famed as a revivalist in painting, to which he often added calligraphic techniques.The shapes of the pines and mountain forms all derive from those of the Li Ch'eng and Kuo Hsi tradition. The peaks were first outlined and then textured. Ochre was applied as a base for the coloring,to which blue and green were added. This complementary color scheme of warm and bright hues creates an archaic elegance that brings out the majestic silence and antiquity of the land. Sound is suggested by a breeze that whispers through the pines. 网页展示说明 赵孟頫（1254？1322），浙江吴兴人。字子昂，号松雪道人。原为宋宗室，宋亡后入仕元朝，官至翰林学士承旨，封魏国公。工书法，他是元代著名的文学家、书法家，更是元代山水画变革的先驱，提倡复古，无论山水、人物、花鸟、走兽等皆倡跨越南宋院画之纤巧，而直追北宋以前的古朴，再倡以书法入画，影响后世甚钜。 画河岸松巖，景境幽深。近景画松树茆亭，一士人坐观对岸岩石飞瀑。松树及巖石造形出于李成、郭熙一系风格，山石造型虽近云头皴法，但仍用细笔，勾多皴少，赭色作底，上罩染石青、石绿，青绿与赭石的搭配，显得沈厚中有一份古雅，衬托出万般俱静，但闻松声流泉，而有天人合一的气氛。 网页展示说明 Chao Meng-fu, a native of Chekiang province, was a scion of the Sung who also served under the following Yuan in the Hanlin Academy. He was famed as a revivalist in painting, which he often did with a calligraphic touch.The shapes of the pines and mountain forms all derive from those of the Li Ch'eng and Kuo Hsi tradition. The peaks were first outlined and then textured. Ochre was applied as a base for the coloring, to which blue and green were added. This complementary color scheme of warm and bright hues creates an archaic elegance that brings out the majestic silence and antiquity of the land. Sound is created by the suggestion of a breeze whispering through the pines.