书体:

色彩:

水墨

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

作者印记：正揆

题跋资料:

题跋类别：题跋；作者：龚贤对幅时康熙己酉仲冬望前一日。清凉山下人龚贤题。；书体：行书；全文：今日画家以江南为盛。江南十四郡。以首郡为盛。郡中著名者且数十辈。但能吮笔者。奚啻千人。然名流复有二派。有三品。曰能品。曰神品。曰逸品。能品为上。馀无论焉。神品者。能品中之莫可测识者也。神品在能品之上。而逸品又在神品之上。逸品殆不可言语形容矣。是以能品神品为一派。曰正派。逸品为别派。能品称画师。神品为画祖。逸品散圣。无位可居。反不得不谓之画士。今赏鑑家。见高超笔墨。则曰有士气。而凡夫俗子。于称扬之词。寓讥讽之意。亦曰此士大夫画耳。明乎画非士大夫事。而士大夫非画家者流。不知阎立本乃李唐宰相。王维亦尚书右丞。何尝非士大夫耶。若定以高超笔墨为士大夫画。而倪黄董巨。亦何尝在缙绅列耶。自吾论之。能品不得非逸品。犹之乎别派不可少正派也。使世皆别派。是国中惟高僧羽流。而无衣冠文物也。使画止能品。是王斗颜斶皆可役而为皁隶。巢父许由皆可驱而为牧圉耳。金陵画家。能品最夥。而神品逸品亦各有数人。然逸品则首推二谿。曰石谿。曰青谿。石谿。残道人也。青谿。程侍郎也。皆寓公。残道人画。麤服乱头。如王孟津书法。程侍郎画。冰肌玉骨。如董华亭书法。百年来论书法。则王董二公应不让。若论画笔。则今日两谿。又奚肯多让乎哉。诗人周栎园先生有画癖。来官兹土。结读画楼。楼头万轴千箱。集古勿论。凡寓内以画鸣者。闻先生之风。星流电激。惟恐后至。而况先生以书召以币迎乎。故载几盈床。不止如十三经。廿一史。林宗五千卷。茂先三十乘。登斯楼也。吾不知从何处读起。暇日偶过先生。先生出此册见示。馀繙阅再四。皆神品逸品。其中尤喜程侍郎二帧。因志数语。幸藻鑑在前。不然。吾几涉于阿矣。时康熙己酉仲冬望前一日。清凉山下人龚贤题。印记：贤

主题:

主要主题：山水  ；其他主题：山水江河、湖海 ；其他主题：树木  ；其他主题：建筑亭 

技法:

写意 

参考资料:

收藏着录： 石渠宝笈三编（御书房），第七册，页3229-3236 收藏着录： 故宫书画录（卷六），第四册，页273-281 收藏着录： 故宫书画图录，第三十册，页272-285 参考书目： 1.邱士华，〈清程正揆泉石林峦〉，收入何传馨主编，《山水合璧：黄公望与富春山居图特展》（台北：国立故宫博物院，2011年五月初版一刷），页345-346。 内容简介（中文）： 程正揆（1604-1676），字端伯，别号青溪道人，湖北人，以山水画名擅一时。程正揆曾临〈富春山居图〉「无用师卷」，对黄公望推崇备至，画风深受影响。此幅画山巖叠布，坡脚平台置一小亭，可随曲折河道远望。画中尖角状山形、山间平台等母题，以及浑厚的山体，均承自黄公望。此作秃笔中锋，用墨浅淡，画境幽僻，在近似黄公望山水面貌之馀，另有一份清寂之感。(清周亮工集名家山水册 第六开 20110609) 内容简介（中文）： 程正揆（西元十七世纪），湖北孝感人，甲申后卜居江宁。初名正葵，崇帧辛未进士，顺治时改今名，字端伯，号鞠陵，又号青溪道人。山水得董其昌指授。 秃笔中锋，用墨枯淡，境亦幽僻，是程画中之精者。对开有龚贤题语，与僧髠残并推为二溪。谓髠残画如乱头粗服，程正揆画如玉骨水肌。 内容简介（英文）： Although Ch’eng Cheng-k’uel was originally a native of Hsiao-kan in Hupei province, he moved to the Kiangning area (Nanking) after the fall of the Ming dynasty in 1644. He received the chin-shih degree in 1631. He adopted the present name at the beginning of the Ch’ing dynasty. His tzu was Tuan-po and his hao were Chu-ling and Ching-his Tao-jen. He once studied landscape painting with Tung Ch’i-ch’ang (1555-1636). The artist has used a blunt brush and pale dry inks to execute this isolated scene. It is one of his finest works. Mounted with the landscape is a long eulogy by the painter Kung Hsien (d. 1689) who compares the work to that of the monk K’un-ts’an (fl. 17th century). Kung says K’un-ts’an’s paintings are like people with dishevelled hair and ill-kempt clothing, while Ch’eng’s like people with fine bones and fair complexion. 内容简介（英文）： Cheng Zhengkui (style name Duanbo, sobriquet Qingxi daoren), a native of Hubei, was a famous landscape painter of his time. He once made a copy of the “Master Wuyong Version” of “Dwelling in the Fuchun Mountains,” having the utmost reverence for Huang Gongwang and being deeply influenced by his style.This work depicts a layered arrangement of mountains with a flat outcropping at the foothills and a small kiosk, the viewer able to follow the stream zigzagging into the distance. Such motifs as the pointed mountain forms and outcroppings among them, along with the natural power of the mountains, are all features deriving from Huang Gongwang’s style. The artist here employed a centered blunt brush with light ink to create a secluded and remote scene. In addition to its similarity to Huang Gongwang’s landscape, it also has a pure and desolate quality as well.(20110609)