书体:

色彩:

水墨

装裱形式:

轴

创作时间:

清圣祖康熙十一年（1672）

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：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：王翬；题跋位置：本幅；款识：倪高士初名珽。字宗率更。画亦大异。与晚年如出两手。馀客嘉禾。见其少时所作。摹其大槩。以存倪画一种。壬子（西元一六七二年）十月三日。在毘陵杨氏之近园。剪灯并识。石谷。；书体：楷书；全文： 印记：王翬

题跋类别：题跋；作者：方咸；题跋位置：本幅；款识：康熙甲寅。邵村咸观因题。；书体：楷书；全文：江上先生宅。山中处士家。竹影连溪静。翛然杖笠斜。康熙甲寅。邵村咸观因题。

主题:

主要主题：山水  主要主题：树木竹 ；其他主题：建筑房舍 ；其他主题：建筑栏杆 ；其他主题：建筑塔 ；其他主题：建筑水榭 ；其他主题：树木寒林．枯树枯树；其他主题：人物高士（士人、隐士） ；其他主题：树木  ；其他主题：山水石磴、栈道石磴；其他主题：山水江河、湖海江河

技法:

写意 皴法披麻皴皴法折带皴苔点 

参考资料:

收藏着录： 石渠宝笈续编（御书房），第四册，页2095 收藏着录： 故宫书画录（卷八），第四册，页93 收藏着录： 故宫书画图录，第十册，页113-114 内容简介（中文）： 王翬（西元一六三二－一七一七年），江苏常熟人。字石谷，号耕烟散人、清晖主人，又称乌目山人、剑门樵客。幼嗜画，运笔构思，回出时流。石谷神悟力学，又亲受王时敏、王鑑教导，遂为一代名家。此幅山水笔墨取法于倪瓒，山石土坡用干笔淡墨勾皴，并以侧峰点出苔点；巖石间修竹丛生，迎风摇曳。山林间又添进一个策杖而行之文人为点景，增添生动之意。虽言追法倪瓒，然笔墨凝重，寓浑厚滋润于清简淡远之中，亦自具面目。 内容简介（英文）： Wang Hui (style name Shih-ku; sobriquets Keng-yen san-jen and Ch’ing-hui chu-jen; also called Wu-mu Shan-jen and Chien-men ch’iao-k’e) was a native of Ch’ang-shu, Kiangsu. Wang Hui often painted in his childhood. Both in brushwork and composition, he surpassed the fashions of his time. Wang Hui was intelligent by nature and studied diligently. He received the personal guidance of Wang Shih-min and Wang Chien, whom Wang Hui surpassed to become the most famous painter of his time.In this painting, Wang Hui has taken the methods of Ni Tsan (1301-1374) for depicting the mountains, rocks, and earthy hillocks by using dry brushwork, light ink, and angular texture strokes. In addition, Wang Hui used a slanted brush tip for depicting the “moss” dots. Among the craggy rocks are tall and luxuriant bamboo which gently bend in the wind. A literatus can be seen holding a staff as he strolls in the mountain forest, thus adding a sense of animation as he intrudes upon the scene. Although Wang Hui wrote in his inscription that he followed the methods of Ni Tsan, Wang’s style of rich and moist brushwork appears adorned and heavy as it contrasts with the pure simplicity and light profundity of that of Ni Tsan. This painting thus also reflects Wang Hui’s own style.