书体:

色彩:

设色

装裱形式:

卷

创作时间:

明孝宗弘治六年（1493）

文字类型:

质地:

本幅绢引首纸拖尾绢

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
收传印记：济之
收传印记：韡韡斋（重一）
收传印记：文氏休承
收传印记：五峰
收传印记：文伯仁
收传印记：两冠京闱（重二）
收传印记：三槐堂图书记（重三）
收传印记：文恪公五世孙君常五氏珍藏（重一）
收传印记：宫保名家
收传印记：选

题跋资料:

题跋类别：作者款识；作者：沈周；题跋位置：本幅；款识：昔年曾于钱鹤滩太史宅。赏玩夏圭马远二公长卷。观其笔力苍劲。丘壑深奇。天然大川长谷。今之世无二公笔也。适吴学士匏翁持卷过馀竹庄。视之。正昔年所观之笔。馀静坐时想二卷中笔力丘壑。迄今二十年矣。馀对此卷摹倣合作一卷。可谓奇遇也。弘治癸丑（西元一四九三年）仲秋日长洲沈周。；书体：行书；全文： 印记：启南（重一，内一半印）、石田（重一）

题跋类别：题跋；作者：吴宽拖尾九月二日吴宽识；书体：行书；全文：馀席渊流馀荫。得保有名人图绘。毌敢失坠。非赏识之士不轻出也。启南先生为当世名品。馀每过竹庄辄留连作数日淹。一日偶以前人合作长卷。坐静观阁相与盘礴。展阅久之。启南忽跃然曰。窃观古人绪馀不觉十指有逢原之玅。遂索绢素摹倣其意。留卷案头者三阅月而就。其山容秀削浮天弥渺。的然为龙山岫岭。传神玅处。上过李营丘郭河阳。马夏而下所不论矣。启南先生画品高天下。远近望而趋者。求一水一石而不可得。一旦遂得如许精工合作。馀固有偏幸。启南毋亦有偏嗜耶。然吾家尚有未尽之旧蹟。而门外复有未尽之山川。毌谓措大得陇望蜀也。因识其后。九月二日吴宽识。印记：吴宽、原博

题跋类别：题跋；作者：文征明拖尾长洲文征明识；书体：隶书；全文：启南之画方之书家具识其力。能追汉魏。能轶宋唐。独风神闻逸。优入圣域。似过晋人一筹。子久晋之右军也。元镇谢太傅之流欤。今玩此卷。几几乎火攻倪黄矣。匏翁赏鉴最严。而倾心若此。精可知矣。长洲文征明识。印记：停云、文征明印、征仲

题跋类别：题跋；作者：文征明引首征明题；书体：隶书；全文：江山清远。（隶书）。征明题。（行书）。印记：文征明印、征仲、停云

主题:

其他主题：树木松 主要主题：山水  ；其他主题：建筑亭 ；其他主题：人物樵夫 ；其他主题：建筑桥 ；其他主题：船帆船 ；其他主题：器用饮食器酒壸（葫芦）；其他主题：建筑茅草屋 ；其他主题：翎毛鹤 ；其他主题：建筑台阁 ；其他主题：建筑寺庙 ；其他主题：器用枴杖 ；其他主题：器用家俱（屏风）桌；其他主题：山水云 ；其他主题：花草藤萝 ；其他主题：建筑房舍 ；其他主题：山水瀑布 ；其他主题：树木  ；其他主题：山水溪涧、湍泉 ；其他主题：人物渔夫、船夫 ；其他主题：人物高士（士人、隐士）高士；士人；其他主题：人物侍从（侍女、童仆）侍从；童仆；其他主题：山水江河、湖海江河；其他主题：翎毛  ；其他主题：船  

技法:

写意 皴法 皴法披麻皴皴法斧劈皴人物衣纹描法(减笔) 

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页40 收藏着录： 故宫书画图录，第十八册，页131-138 参考书目： 1.江兆申，〈沈周江山清远　卷〉，收入国立故宫博物院编，《吴派画九十年展》（台北：国立故宫博物院，1975年初版，1976年再版，1981年三版），页299。 内容简介（中文）： 沈周自题：「昔年曾于钱鹤摊太史宅赏玩夏圭马远二公长卷，观其笔力苍劲，丘壑深奇，天然大川长谷，今之世无二公笔也。适吴学士匏翁持卷过馀竹庄，视之，正昔年所观之笔。馀静坐时，想二卷中笔力丘壑，迄今二十年矣。馀对此卷　倣合作一卷，可谓奇遇也」。王世贞艺苑卮言记沈周画：「．．．传中原李伯华至品之为第三，且目之为殭为枯。馀因访伯华，悉取沈画观之，然无一眞本也」。疑此画或出于转摹，然当质之巨眼。款弘治癸丑，沈周六十七岁。 内容简介（中文）： 沈周（西元一四二七－一五○九年），长洲（今江苏苏州）人。字启南，号石田，又号白石翁。幼时便聪颖过人，不但能诗文，善书法，更精通绘画，是明四大家之一。本作是弘治癸丑年（一四九三）沈周六十七岁时，临摹夏圭「溪山清远」的一件作品。画中时而峰峦层叠，山峰突起，又时而河域开阔，江岸飘缈，景物变化丰富。不过因为这是一件临摹的作品，所以在笔墨上缺少了一份挥洒淋漓的韵致。 内容简介（英文）： Clear Distance over Rivers and MountainsShen Chou (1427-1509)Ming Dynasty Shen Chou, a native of Soochow, was talented even as a youth. He eventually became known as one of the Four Masters of the Ming due to his achievements in the arts of poetry, prose, calligraphy, and painting. This work was done in 1493 at the age of 66 and represents a copy after Clear Distance Over Streams and Mountains by Hsia Kuei of the Southern Sung. Shen Chou painted layers of peaks and ridges with a protruding mountain peak as well as riverbanks that expand outward with mist-shrouded riverbanks for variety and contrast. However, since this is a copy by Shen, his use of brush and ink here is somewhat lacking in terms of individuality and harmony. 内容简介（英文）： 1493Shen Chou Clear Distance over River and Mountains Shen Chou inscribed his handscroll in these words: “Once I visited the historian Ch’ien Hao-t’an (Ch’ien Fu), and he showed me two long handscrolls, one by Ma Yüan and one by Hsia Kuei. Seeing their strength and vigor of brush, the depth and mystery of their hills and valleys, and the naturalness of their great rivers and deep gorges, I realized that in all the world today no two brushes could match these. When the official P’ao-weng (Wu K’uan) came to Suchou, he brought some handscrolls to my Bamboo Cottage. When I saw them I realized that they were the same scrolls that I had seen years before. In the intervening twenty years I had often throught of the strength of brush and the beautiful mountains and valleys in the paintings. So I have seized this new opportunity and copied both paintings into a single handscroll. This really was an unusual stroke of luck’.” The scroll is unusually long, stretching to 1,760 cm. The brush is blunt and strong and captures some of the feeling of the Palace Museum’s famous handscroll by Hsia Kuei, “Clear Distance over Mountains and Valleys”. However, the sizing of the silk makes it unabsorbant, and the brushwork seems stiff and lacking in resonance. A later critic, Wang Shih-chen, said of Shen Chou’s paintings, “The collector Li Po-hua (Li K’ai-hsien, 1502-1568) placed Shen Chou in the third rank of painters because of the stiffness and dryness of his brush. However, I have seen every one of the Shen Chou paintings that were in Li’s collection, and not one is genuine.” It is possible that “Clear Distance over Rivers and Mountains” is a copy of a Shen Chou original, although this world be difficult to prove. It probably dates from 1493, when Shen Chou was 66 years old.