书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宝笈三编
鑑藏宝玺：宣统御览之宝
收传印记：李应祯印
收传印记：李绍私印
收传印记：兰亭居士鉴赏
收传印记：天籁阁
收传印记：墨林祕玩
收传印记：项子京家珍藏
收传印记：项元汴印
收传印记：子孙永保
收传印记：太□之印
收传印记：檇李
收传印记：墨林山人
收传印记：项叔子
收传印记：退密
收传印记：子京所藏
收传印记：项墨林鑑赏章
收传印记：蕉林
收传印记：姜绍书印

题跋资料:

题跋类别：题跋；作者：王蒙；题跋位置：本幅；款识：无；；书体：篆书；全文：花溪渔隐。

题跋类别：作者款识；作者：王蒙；题跋位置：本幅；款识：御儿西畔霅溪头。两岸桃花渌水流。东老共酣千日酒。西施同泛五湖舟。少年豪侠知谁在。白发烟波得自由。万古荣华如一梦。笑将青眼对沙鸥。黄鹤山中樵者王蒙。敬为玉泉尊舅画。并赋诗于上。；书体：楷书；全文：

题跋类别：题跋；作者：邥良次；题跋位置：本幅；款识：邥良次韵；书体：楷书；全文：终日垂竿古渡头。时人谁识旧风流。蹔依此处种桃者。还忆当年载药舟。对景使人怀角绮。入山容我问巢由。得鱼沽酒共妻饮。一醉忘机笑狎鸥。邥良次韵。

主题:

主要主题：山水  主要主题：花草桃花 ；其他主题：山水江河、湖海 ；其他主题：人物高士（士人、隐士） ；其他主题：人物仕女 ；其他主题：人物侍从（侍女、童仆） ；其他主题：人物渔夫、船夫 ；其他主题：树木  ；其他主题：树木杨柳 ；其他主题：建筑房舍 ；其他主题：建筑茅草屋 ；其他主题：船渔船 ；其他主题：船篷舟 

技法:

写意 皴法披麻皴人物衣纹描法(减笔) 苔点 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1634 收藏着录： 故宫书画录（卷八），第四册，页68 收藏着录： 故宫书画图录，第五册，页7-8 参考书目： 1.王耀庭，〈元王蒙花谿渔隐〉，收入王耀庭编，《渊明逸致特展图录》（台北：国立故宫博物院，1988年初版），页103-104。2.王耀庭，〈元王蒙花溪渔隐〉，收入王耀庭主编，《传移模写》（台北：国立故宫博物院，2007年初版），页66。3.蒋复璁，〈王蒙花溪渔隐图〉，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67-68。4.王耀庭，〈桃花源与花谿渔隐〉，《中华民国建国八十年中国艺术文物讨论会论文集　书画(上)》（台北：国立故宫博物院，1992），页279-305。 内容简介（中文）： 王蒙（西元一三○八—一三八五年），吴兴（浙江湖州）人。字叔明，号黄鹤山樵，赵孟頫外孙。画风以王维、董、巨为宗，但能自立面目，为元四大家之一。 此图写霅溪风景，款题为玉泉尊舅作。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟頫「鹊华秋色」卷中画柳之法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟頫。王蒙是赵孟頫的外孙，所受影响，不仅技法而已。 内容简介（中文）： 王蒙（公元一三O八－一三八五年)，吴兴人，字叔明，号黄鹤山樵，赵孟頫外孙。画得赵氏法而能自立面目，为元四大家之一‧ 此图写霅溪风景，款题为玉泉尊舅作，玉泉已不可考。观王沈两题，当是早年任侠，迟暮归隐者。通幅用笔绵密而精工，于秋山草堂图为近，垂柳一行，与赵孟頫鹊华秋色卷中画柳同出一法。「花谿渔隐」是从「桃花源记」的观念，所衍生出来的题材，起于元代赵孟頫，王蒙是赵孟頫的外孙，所受影响，不仅技法而已。 内容简介（中文）： 王蒙（1308－1385），吴兴（浙江湖州）人。字叔明，号黄鹤山樵，赵孟頫外孙。画风以王维、董巨为宗，但能自立面目，为元四大家之一。此图写霅溪风景，款题「为玉泉尊舅作」。玉泉已不可考。通幅用笔绵密而精工，垂柳一行，与赵孟頫〈鹊华秋色〉卷中画柳法相同。「花谿渔隐」是从〈桃花源记〉衍生的画题，创始于赵孟頫。王蒙是赵孟頫的外孙，所受影响，不仅技法而已。(20110913) 内容简介（英文）： Wang Meng (style name Shuming, sobriquet Huanghe shanqiao), a native of Wuxing (modern Huzhou, Zhejiang), was the grandson of Zhao Mengfu. His painting style was indebted to those of Wang Wei, Dong Yuan, and Juran, but he also established his own unique manner, for which he became known as one of the Four Yuan Masters. This painting depicts scenery along the Zha River, the signature indicating it was “done for senior uncle Yuquan,” who remains unidentified. The brushwork throughout this work is dense and refined, and the weeping willows rendered as in Zhao Mengfu’s handscroll “Autumn Colors on the Qiao and Hua Mountains.” The recluse-fisherman theme here is based on Tao Yuanming’s “Peach Blossom Spring,” and the first painter to associate the two was Zhao Mengfu. Thus, Wang, who was Zhao’s grandson, was influenced by him in not only technique.(20110913) 内容简介（英文）： Wang Meng was a native of Wu-hsing, Kiangsu. His style name was Shu-ming; his sobriquet Huang-ho shan-ch'iao. He was the maternal grandson of Chao Meng-fu (1254- 1322). Though he followed Chao's painting methods, he created his own style and is known as one of the "Four Masters of the Yüan Dynasty". W According to the inscription on this hanging scroll, which depicts the scenery along the Cha River in Chekiang, the painting was made for the artist's uncle Yü-ch'üan. The general theme of Recluse on a Flowering Stream is drawn from T'ao Yüan-ming's Peach Blossom Spring. One of the first painters to combine the motifs of the flowering stream and the hermit fisherman was Chao Meng-fu, Wang Meng's maternal grandfather. Both thematically and stylistically this finely executed scroll shows Chao's influence: the weeping willows in front of the cottage are drawn in the same fashion as those in Chao's Autumn Colors of the Ch'iao and Hua Mountains. The brushwork of this painting is quite similar to Wang's own Thatched Cottage in the Autumn Mountains. 内容简介（英文）： Wang Meng, a native of Wu-hsing (modern Hu-chou, Chekiang), was the grandson of Chao Meng-fu. His unique style was indebted to those of Wang Wei, Tung Yüan, and Chü-jan, for which he is known as one of the Four Yüan Masters.According to the inscription on this work showing scenery along the Cha River, it was made for the artist’s uncle, Yü-ch’üan. The brushwork is dense and refined, and the weeping willows are done as in Chao Meng-fu’s Autumn Colors on the Ch’iao and Hua Mountains. The fisherman theme here is based on T’ao Yüan-ming’s The Peach Blossom Spring, and the first painter to associate the two was Chao. Thus, Wang, being Chao’s grandson, was influenced by him in not only technique.