书体:

色彩:

水墨

装裱形式:

册(推蓬装‧方幅式)

创作时间:

文字类型:

质地:

本幅纸对幅纸

释文:

印记资料:

作者印记：一峰道人
作者印记：大癡
收传印记：胡筋之印（半印）
收传印记：王氏家藏
收传印记：济之

题跋资料:

题跋类别：题跋；作者：顾仲瑛对幅崑山顾仲瑛。；书体：草书；全文：屋下清泉屋上山。松阴落落竹斑斑。道人竟日支颐坐。却喜山光照酒颜。崑山顾仲瑛。印记：玉山草堂

主题:

主要主题：山水  ；其他主题：山水江河、湖海 ；其他主题：树木松 ；其他主题：建筑寺庙 ；其他主题：建筑阶梯 ；其他主题：树木寒林．枯树 ；其他主题：树木  

技法:

写意 皴法披麻皴

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页139 收藏着录： 故宫书画图录，第二十二册，页112-115 参考书目： 1.邱士华，〈传元黄公望清溪停舟、屋下清泉、贪住青山、溪岸山居〉，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355-357。 内容简介（中文）： 此册传为黄公望为张雨绘制，共分八开，选展四开。第一开上幅可见款署张雨的至正乙酉年（1345）题记，提到自己前往虞山拜访黄公望，别离之时，黄公望绘赠此册。张雨在装裱后请同时人歌咏。因此其他七开上幅，可见落款为顾瑛（1310-1369）、揭奚斯（1274-1344）、张枢（1292-1348）、俞和、郯韶、杨泰、钱鼎等人题跋。然此作第一、二、三、五开之构图与母题，与明代钱谷（1508-1572）《纪行图册》的第四、二八、二六及第一开相同（可参考上方灯片图像），但更省略细节。册中若干山石倾向几何图案的造型，颇类黄山画派之作。钱谷《纪行图册》原为王世贞（1526-1590）所作。故此作晚于钱谷，依据明人图式，添入黄公望当时人题跋，应为明末清初仿造黄公望的作品。(传元黄公望画张雨山居图册 第四开 20110609) 内容简介（英文）： This album attributed to Huang Gongwang (“Zhang Yu’s Mountain Dwelling”) was purportedly done for Zhang Yu. Consisting of eight leaves, four are on display here. The first leaf has an inscription in Zhang Yu’s name dated to 1345, mentioning a visit to Huang Gongwang at Mt. Yu. Upon his departure, according to the contents, Huang Gongwang did this album and presented it to him. And after Zhang Yu had it remounted, he asked contemporaries to add words of praise. Therefore, on the other seven leaves are inscriptions attributed to such figures as Gu Ying (1310-1369), Jie Xisi (1372-1344), Zhang Shu (1292-1348), Yu He, Tan Shao, Yang Tai, and Qian Ding.However, the motifs and compositions of leaves 1, 2, 3, and 5 are the same, except for simplification of the details, as leaves 4, 28, 26, and 1, respectively, from the album “Illustrated Album of Travels” by the Ming dynasty artist Qian Gu (1508-1572), as seen in the reproductions on display above. Some of the mountain rock forms in the album also appear geometrical, much as in the Huangshan School of painting.Qian Gu painted “Illustrated Album of Travels” for Wang Shizhen (1526-1590), so this album must have been done afterwards. The compositional formulae of the Ming combined with spurious inscriptions by Huang Gongwang’s contemporaries thus suggest a fabrication of Huang Gongwang’s work from the late Ming or early Qing period.(20110609)