书体:

色彩:

水墨

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：养心殿鑑藏玺
鑑藏宝玺：石渠宝笈
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
收传印记：真赏
收传印记：丹诚
收传印记：公
收传印记：信公珍赏
收传印记：琴书堂
收传印记：都尉耿信公书画之章
收传印记：珍祕
收传印记：宜尔子孙

题跋资料:

主题:

主要主题：山水溪涧、湍泉 主要主题：树木松 ；次要主题：树木寒林．枯树 

技法:

皴法 

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页669 收藏着录： 故宫书画录（卷五），第三册，页114 收藏着录： 故宫书画图录，第二册，页287-288 收藏着录： 国宝再现-书画菁华特展，页194-199，257-258 参考书目： 1.林柏亭，〈帝国的回忆　国立故宫博物院瑰宝赴法展专辑二 — 宋人松泉磐石〉，《故宫文物月刊》，第186期（1998年9月），页24-25。2.陈韵如，〈松泉磐石〉，收入何传馨主编，《文艺绍兴：南宋艺术与文化‧书画卷》（台北：国立故宫博物院，2010年十月初版一刷），页393-394。 内容简介（中文）： 飞泉激漱于涧石之间，下潴成窟，浪花腾溅。两松劲挺立于涧右，树身扭曲，多?瘤杈枒。松针作圆形，先用浓墨画，再用淡墨罩一次，又用墨水烘渍，最后用小弹弓弹墨花于其上，如宋人弹雪法。涧左枯树两株，?结较两松更甚，画小枝用李郭蟹爪。树后层滩叠渚，愈远愈淡，上接烟霾天宇，一门浑囵。松身结体，颇似武元直赤壁图卷；烘染厚润，颇似李山风雪杉松图卷。 内容简介（中文）： 此画绘水泉松石近景。双松耸立于右侧磐石之上，一前一后皆以嶙峋扭曲枝干铺张于天际；下方左侧石块层叠之间，另有扭结枯木磐根长出，成为近景处的重要焦点。泉水奔流山石之间，亦激起甚多浪花。 学者将此画视为「松石」、「树石」题材，论其为南宋阶段之作。「松石」属山水画范围之一部分，自八世纪起即有发展；于北宋即因李成寒林、郭熙山水之助力，更随着「李郭」画风而大为流行。(20101015) 内容简介（英文）： This work depicts a stream, pines, and rocks in a close-up setting. Two pines, one in front of the other, rise up on the right side of the composition by the large rocks. Their craggy and twisted branches spread out and reach to the sky. In the crevices between the layers on the left are twisting, withered trees with roots emerging from the rocks. These elements form the focus of the foreground. A stream pours from the mountains, spewing frothy waves. Scholars have labeled this type of painting as “pines and rocks” or “trees and rocks,” discussing it in terms of the Southern Song stage of this theme and dating it perhaps to the thirteenth century. “Pines and rocks” belong to a subcategory of landscape painting with its beginnings in the eighth century. In the Northern Song, after the appearance of Li Cheng’s wintry forests and Guo Xi’s landscapes, this theme became quite popular in a style of painting known as “Li-Guo,” named after these two artists.(20101015) 内容简介（英文）： A stream cascades between rocky banks into a shallow pool in the foreground. Two strong and angular pines grow from the rocky shore. The pine trunks twist like dragons; their growth distorted by tumors. Pine needles fan out in circular patterns. The artist painted the pine needles in four stages: first, rendered in dark ink, then re-articulated with lighter ink, washed with very pale ink, and finally spattered with fine drops of ink using a kind of small slingshot. The latter stage is similar to the method Sung artists employed in suggesting snow. On the left bank of the pool the artist has placed a clump of hoary trees. These trees, even more dramatic than the pines on the right, are stylistically related to the Li Ch'eng-Kuo Hsi tradition of the Northern Sung. Behind the trees the stream and banks recede, merging subtly with the misty atmosphere of the middle distance. The treatment of the pine trunks is quite similar to that found in Wu Yüan-chih's Red Cliff and the use of ink wash resembles that in Li Shan's Wind and Snow in the Pines. 研究性论着： 本幅之题材与风格，属「松石格」之作品，描绘双松挺立于磐石上，两侧有枯木为伴，兼具寒林之景象。寒林之后隐约可见清涧折曲而来，至磐石处急泻而下，激起漩涡与浪花。松石格（注1）是兴起于八世纪的绘画，或画「松石」、或「树石」，含松柏及其他树木。它是山水画范围的一部分，再发展下去，则与「寒林」图有关。李成（919--967）擅画华北之山水，尤以景象萧疏荒寒之寒林最具特色。继之有郭熙（活动于十一世纪后半叶）持续发展，逐渐形成「李郭」一系之山水画派，寒林图也成为宋代（960--1279）相当流行之题材。在宋代尚由文同（1018--1079）、苏东坡（1036--1101）等人之发展，至元代形成「古木竹石」之新题材。本幅画松及古木，不但强调瘿瘤累累，还一再重复枝势折转之情态。较之「宋人乔木图」，本幅画树枝之折转情态更趋向于形式化。此画风约在南宋（1127--1279）的中、晚期，与马夏流派强调笔墨之趣有异曲同工之妙。画枝干之情态，如发挥写书法之用笔，画家在描绘真实之形象，与表现潇洒之笔墨，两者之间，实以较偏重后者。枝叶间尚可见许多墨点，是在写枝榦、树叶之馀，墨韵犹有不足之感 再以「弹墨法」持笔在小弓之弦敲弹，使墨点喷洒在画上，形成「点」、「线」、「面」更丰富的变化。（林柏亭）注1：详见李霖灿，（松石画格之研究和松泉磐石图），（寒林一系图画的初步研究），《中国名画研究》，上，（台北：艺文印书馆，1973），页259--266；页267--274。