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：御书房鑑藏宝
鑑藏宝玺：五福五代堂古稀天子宝
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺

题跋资料:

题跋类别：作者款识；作者：邹一桂；题跋位置：本幅；款识：壬申（西元一七五二年）春仲。扈从盘山。即景恭画。臣邹一桂。；书体：楷书；全文： 印记：一桂图书

题跋类别：作者款识；作者：邹一桂；题跋位置：本幅；款识：臣一桂恭和；书体：楷书；全文：大钧播物开洪蒙。艮方斵壁羞雷同。三盘凸窍神斧工。中肤外骨精气通。泉萦峰绕不可穷。琳宫宝墖罗禅宗。怒虎踞石龙拏松。云物变幻阴晴中。此圗绘出卷阿风。矢诗赓和追前踪。臣一桂恭和。印记：九龙山人、邹一桂

题跋类别：题跋；作者：汪由敦；题跋位置：本幅；款识：御制题句。臣汪由敦奉命敬书。；书体：行书；全文：春云欲出山蒙蒙。山乎云乎将无同。变态万状难为工。若人意会神以通。烟峦莫遁冥搜穷。妙解要在得其宗。奚问邱壑石与松。五日清游一览中。扈跸不孤冐春风。嘉陵道子今齐踪。御制题句。臣汪由敦奉命敬书。印记：臣由敦、敬书

主题:

主要主题：山水春景 ；其他主题：建筑店舖 ；其他主题：山水溪涧、湍泉溪涧；其他主题：建筑寺庙 ；其他主题：树木寒林．枯树 ；其他主题：建筑房舍 ；其他主题：建筑篱笆、围墙围墙；其他主题：树木松 ；其他主题：山水山径 ；其他主题：建筑亭 ；其他主题：建筑塔 ；其他主题：山水云 ；其他主题：树木  

技法:

工笔 写意 皴法 皴法披麻皴苔点 

参考资料:

收藏着录： 石渠宝笈续编（御书房），第四册，页2192 收藏着录： 故宫书画录（卷八），第四册，页102 收藏着录： 故宫书画图录，第十一册，页229-230 参考书目： 1.冯明珠，〈邹一桂太古云岚〉，收入冯明珠主编，《乾隆皇帝的文化事业》（台北：国立故宫博物院，2002年初版一刷），页87。 内容简介（中文）： 邹一桂（西元一六八六─一七七二年），江苏无锡人。字原褒，号小山，又号让卿，晚号二知老人。官至礼部侍郎，加尚书衔。亦精通画理，有《小山画谱》传世。本幅绘盘山静寄山庄全景，纯以写生法出之，笔致细谨，树石房舍远近大小悉合比例，云影山光也采透视画法，令人有临高远眺，云山胜景尽收眼下之概。作于乾隆壬申（一七五二），时邹一桂六十七岁。(20121016) 内容简介（中文）： 邹一桂，生于康熙二十五（公元一六八六）年，死在乾隆三十七（公元一七七二）年，江苏无锡人。字原褒，号小山，又号让卿，晚号二知老人。曾中雍正五年进士，历官到礼部侍郎，加尚书衔。除能绘画外，又精通画理，着有小山画谱。 他的画，以花卉最知名，画山水亦颇具风格，如本幅画河北蓟县盘山静寄山庄全景，纯以写生手法出之，笔致细谨，树石房舍远近大小悉合比例，云影山光也采透视画法，令人有临高远眺，云山胜景尽收眼下之概。 内容简介（英文）： Tsou I-kuei, tzu (style name) Yüan-pao and hao (sobriquet) Hsiao-shan, Jang-ch’ing and later Erh-chih lao-jen, was a native of Wu-hsi, Kiangsu. He received the chin-shih degree in 1727 and led an official career which culminated in his appointment as Vice-President of the Board of Rites (later he was given the honorary title of President). He was interested in the theory as well as the practice of painting and authored a manual of painting, Hsiao-shan hua-p’u. Tsou I-kuei is best known for his paintings of flowers and birds, but he also proved himself a fine landscape stylist in works like this representation of the strangely-shaped Mount P’an in Hopei Province. In it he employed the principles of “drawing from life” which also characterize his bird-and-flower paintings. His brush fondly traces every detail of the trees, rocks and houses, and places them all in accurate spacial and size relationships to each other. His representation of the light on the mountains also follows the rules of visual realism. All of this creates in the viewer the impression that he is gazing on a real scene. 内容简介（英文）： Zou Yigui (style name Yuanbao and sobriquets Xiaoshan, Rangqing, and later Erzhi laoren), a native of Wuxi in Jiangsu, rose to the post of Vice Minister of Rites with the honorary title of Minister. Also gifted at painting theory, he authored the Painting Manual of Xiaoshan. This work depicts an overview of the Jingji Retreat at Mount Pan. Done purely in the sketching-from-life manner, the brushwork is extremely fine while the distance and size of the landscape elements and architecture all proportional. The cloudy mountains are done in perspective to provide a high distance that encompasses the scenery as a whole before the viewer. This painting was done in 1752, when Zou Yigui was 67 by Chinese reckoning.(20121016)