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：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：养心殿鑑藏宝
鑑藏宝玺：嘉庆御览之宝

题跋资料:

题跋类别：作者款识；作者：唐寅；题跋位置：本幅；款识：松间草阁倚巖开。巖下幽花遶露台。谁扣柴扉惊鹤梦。月明千里故人来。晋昌唐寅。；书体：行书；全文： 印记：吴趋、唐伯虎、南京解元

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：庚寅（1770年）仲春御题；书体：行书；全文：（乾隆庚寅1770御题。诗文不录。）印记：干、隆

主题:

主要主题：山水夜景（月景） 主要主题：树木松 ；次要主题：人物官员（臣）士人二人；次要主题：人物侍从（侍女、童仆）童仆二人；次要主题：器用家俱（屏风） ；次要主题：建筑房舍 ；次要主题：器用文玩（琴棋书画）书卷；次要主题：器用饮食器茶碗、瓶；次要主题：山水溪涧、湍泉 ；其他主题：器用文房用具 ；其他主题：树木  

技法:

工笔 写意 皴法斧劈皴人物衣纹描法(匀称线条) 苔点 

参考资料:

收藏着录： 石渠宝笈续编（养心殿），第二册，页1040 收藏着录： 故宫书画录（卷八），第四册，页79 收藏着录： 故宫书画图录，第七册，页31-32 参考书目： 1.江兆申，〈唐寅山水　轴〉，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301。2.杜书华，〈明唐寅山水〉，《故宫文物月刊》，第8期（1983年11月），封底 。 内容简介（中文）： 半崖两松盘屈，极为得势。松下轩宇中宾主对坐长谈，一童子在屋簷下打盹。另一童子负卷自山陬小道而至。题句云：「谁扣柴扉惊鹤梦，月明千里故人来」。盖所作为夜景也。屋后小树成林，中为烟雾所隔，沉沉夜气，见其阒静。此图松榦根株处残破一大块，为后人所全补，笔墨与原画极接近。又此画构图相同者共有两本，大体皆自周臣山斋客至一图蜕化而出。画无年款，疑三十五岁作。 内容简介（中文）： 唐寅（西元一四七０─一五二三年），吴郡（江苏吴县）人。字子畏，又字伯虎。天赋高而性不羁，明四大家之一。 半崖两松盘屈，极为得势。松下轩宇中宾主对坐长谈，一童子在屋簷下打盹，另一则负卷自山道而来。屋后小树成林，中为烟雾所隔，沈沈夜气，见其阒静。本幅构图蜕化自周臣「山斋客至」，无年款，疑三十五岁作。另松干根株处残破一大块，为后人所补，笔墨与原画极接近。 内容简介（英文）： T’ang Yin, a native of Wu-hsien, was gifted and unrestrained by nature. He was one of the Four Great Masters of the Ming. Here, two pine trees twisting on a cliffside are painted with great force. In the pavilion below the pines sit a host and guest in conversation. A servant boy dozes under the eaves as another emerges along a mountain path carrying scrolls. Behind the hut is a small grove of trees through which drifts evening mist, conveying the sense of a serene, deep night. The composition here derives from Chou Ch’en’s Visiting at a Mountain Studio. Undated, it was probably done at the age of 34. A large area of the pine trunk was repainted at a later date in a style very similar to the original. 内容简介（英文）： The side of a cliff and two twisted pines are painted with great vigor. In a pavilion under the pines host and guest are sitting and talking. A servant boy is dozing under the eaves while another emerges from the mountains, carrying scrolls down a narrow path. The inscription reads “Who knocks at the door of my humble cottage, startling my dream of cranes? The bright moon shines for a thousand miles, and therefore an old friend has come.” Thus we know that a night scene is represented. Behind the pavilion is a small grove of trees through which drifts the evening mist. The feeling of deep night and its penetrating stillness are fully conveyed. The painting is severely damaged in the area of the pine trees and was restored and retouched at a later time; the brush and ink in the repaired section are very close to those in the original areas of the painting. This composition exists in two versions, both apparently genuine, and both derived from Chou Ch’en’s “Visiting at a Mountain Studio”. “Landscape” is not dated but was probably painted when T’ang Yin was 34 years old.