书体:

色彩:

水墨

装裱形式:

册(折装‧方幅式)

创作时间:

明神宗万历十九年（1591）

文字类型:

质地:

本幅绢

释文:

印记资料:

题跋资料:

题跋类别：作者款识；作者：董其昌；题跋位置：本幅；款识：西安县鹿鸣山。山皆深秀。登峰一望。衢城洞尽。楷书

主题:

主要主题：山水  ；其他主题：山水江河、湖海江河；其他主题：树木  

技法:

写意 皴法 皴法披麻皴苔点 

参考资料:

收藏着录： 故宫书画录（卷八）第四册，页141 收藏着录： 故宫书画图录，第二十三册，页86-92 参考书目： 1.陈韵如，〈明董其昌重峦叠翠、层峦耸秀、鹿鸣山〉，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336-337。 内容简介（中文）： 第十一开左幅山水的构成也有〈富春山居图〉之影响。笔墨带有更多水气，很能表现出山水的温润气氛。山上小块圆卵石层叠相接，也是黄公望山水常见手法。松江地区于十六世纪后半开始，如顾正谊、莫是龙等画家都企图超越文征明以来的苏州风格，进而直接上溯元四家，惟笔墨皴法仍显得扭曲复杂。但在这类董其昌所绘制的黄公望风格山水中，笔墨的运用却已显得简朴，与吴派风格相异。(董其昌纪游画册 第十一开左幅 20110609) 内容简介（英文）： The left painting of the eleventh folio in the album (“Mt. Luming”) is a landscape construct that also reflects the influence of “Dwelling in the Fuchun Mountains.” The brushwork, however, is even wetter, further capable of expressing the moist atmosphere of the landscape. The small rounded rocks on top of the hills are connected together, a technique often seen in Huang Gongwang’s landscapes. In the Songjiang region starting from the latter half of the sixteenth century, such artists as Gu Zhengyi and Mo Shilong attempted to expand beyond the Suzhou style dominated by Wen Zhengming and go back directly to the Four Yuan Masters, though their brushwork and texturing still appeared somewhat contorted and complicated. But in this style of Huang Gongwang landscape that Dong Qichang has painted, the application of brush and ink is already unadorned, differing from that of the Wu School.(20110609)