书体:

色彩:

浅设色

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：宣统御览之宝
收传印记：司马兰亭家藏
收传印记：都尉耿信公书画之章

题跋资料:

题跋类别：作者款识；作者：唐棣；题跋位置：本幅；款识：吴兴唐棣子华作；书体：楷书；全文： 印记：唐棣、唐氏子华、书画斋

主题:

主要主题：山水秋景 ；次要主题：山水溪涧、湍泉 ；次要主题：山水江河、湖海江河；次要主题：人物侍从（侍女、童仆）侍从；次要主题：人物樵夫 ；次要主题：人物渔夫、船夫船夫；次要主题：人物行旅 ；次要主题：树木寒林．枯树枯树；次要主题：树木松 ；次要主题：走兽骡．驴驴；次要主题：建筑台阁 ；次要主题：建筑房舍 ；次要主题：建筑茅草屋 ；次要主题：建筑桥 ；次要主题：船渔船 ；其他主题：山水瀑布 

技法:

皴法卷云皴人物衣纹描法(匀称线条) 苔点 

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页186 收藏着录： 故宫书画图录，第四册，页227-228 参考书目： 1.许郭璜，〈元唐棣倣郭熙秋山行旅〉，收入《李郭山水画系特展》（台北：国立故宫博物院，1999年初版），页53-56。2.林莉娜，〈元唐棣倣郭熙秋山行旅〉，收入林莉娜编，《秋景山水画特展图录》（台北：国立故宫博物院，1989年十月初版），页70。 内容简介（中文）： 唐棣（约西元一二八七—一三五五年），字子华。浙江吴兴人。善画山水，师郭熙，得其苍润蓊郁之趣。 画寒林野店，涧石曲径，缀以行旅数人。峰峦高耸，古寺隐现山间。本幅采主峰中立之构图，山石以捲云皴画出，枯枝则运以蟹爪笔，山石灵动，枯枝劲挺，皆从郭熙笔法而来。全幅染多于皴，山石秀润，烟岚飘渺，气氛安适恬静。 内容简介（中文）： 唐棣（1296－1364），字子华。吴兴（今浙江湖州）人。善画山水，师郭熙，得其苍润蓊郁之趣，尝画嘉熙殿壁，所作为人贵重。 画寒林野店，涧石曲径，缀以行旅数人。峰峦高耸，古寺隐现山间。本幅采主峰中立之构图，灵动的山石以捲云皴皴写，挺劲的枯枝则以蟹爪笔画成，无一不从郭熙笔法而来。全幅染多于皴，山石秀润，烟岚飘渺，气氛安适恬静。(20110913) 内容简介（英文）： Tang Di (style name Zihua), a native of Wuxing (modern Huzhou, Zhejiang), excelled at landscape painting and followed the style of Guo Xi, achieving his hoary and luxuriant manner. Tang Di also did wall paintings at the palatial Jiaxi Hall, for which he found favor.This rustic setting of wintry trees includes a winding path that runs in a valley from the right with several travelers. It then heads up into the mountains to a temple complex tucked behind the cliffs. The composition is composed of an off-center monumental mountain, earthen slopes done in spirited “curled-cloud” texture strokes, and withered tree branches rendered with “crab-claw” brush strokes, which all derive from the Guo Xi style. Here, washes dominate the texture strokes throughout the work, the elegant mountain forms and misty atmosphere creating an atmosphere of peace and tranquility.(20110913) 内容简介（英文）： T'ang Ti, a native of Chekiang, excelled at landscape painting and followed the style of Kuo Hsi. He also studied under Chao Meng-fu, being influenced by his rich and archaic style. This wintry setting includes a path that runs from the right, by the inn, and to the left, up into the mountains to temple complex tucked behind the cliffs. The composition is composed of an off-center mountain. Earthen slopes were done in curled-cloud texture strokes, and tree branches in the crab-claw manner. The thrusting mountain forms seem to pulsate in contrast with the craggy trees, which are all derived from the Kuo Hsi style. Here, the washes dominate the texture strokes. The moist forms and mist give the work a still and silent atmosphere.