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：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：宝笈三编
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
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
收传印记：北平孙氏砚山斋图书

题跋资料:

题跋类别：作者款识；作者：盛懋；题跋位置：本幅；款识：武塘盛（盛字剥蚀）懋；书体：楷书；全文： 印记：盛懋（半印）

主题:

主要主题：山水  主要主题：树木竹 ；次要主题：山水江河、湖海 ；次要主题：人物高士（士人、隐士）高士；次要主题：人物侍从（侍女、童仆）侍从、童仆；次要主题：建筑亭茅亭；其他主题：山水溪涧、湍泉 ；其他主题：山水瀑布 ；其他主题：树木  ；其他主题：树木寒林．枯树枯树；其他主题：建筑台阁 ；其他主题：建筑斋馆 ；其他主题：建筑房舍 ；其他主题：建筑寺庙 ；其他主题：建筑桥 ；其他主题：建筑栏杆 ；其他主题：船篷舟 

技法:

皴法披麻皴苔点 

参考资料:

收藏着录： 石渠宝笈三编（干清宫），第二册，页526 收藏着录： 故宫书画录（卷五），第三册，页231 收藏着录： 故宫书画图录，第五册，页51-52 内容简介（中文）： 盛懋（约西元十四世纪）字子昭，浙江临安人，后来迁移到浙江嘉兴的魏塘镇。他画山水、人物、花鸟、最初是向陈琳学习的。技法熟练之后，加入自已的画法，而形成了属于他自已的风格。这一幅画的榭叶，以「介」字点的变格画成，山石皴纹使用长披麻交互皴昼，有许多地方相交而成鱼网状。山顶常有矾头三五个聚在一起。与吴镇的昼风有点相近，但较为瘦瘠，不像吴禛那样厚重。 内容简介（中文）： 盛懋（约西元十四世纪），字子昭，浙江临安人，后来迁移到浙江嘉兴的魏塘镇。画山水、人物、花鸟，初向陈琳学习。技法熟练之后，加入自己的画法，形成个人的风格。　此幅树叶，以「介」字点的变格画成，山石皴纹使用长披麻交互皴画，在许多地方相交成鱼网状。山顶常有三五个矾头聚在一起，具格式化。(20120103) 内容简介（英文）： Sheng Mao (style name Zizhao), a native of Lin’an in Zhejiang, later moved to the town of Weitang near Jiaxing in Zhejiang. He was good at painting landscapes, figures and bird-and-flower subjects. He started by studying the art of Chen Lin and after becoming skilled in his techniques, Sheng added his painting method to form a style of his own.The tree leaves here are painted using varied arrangement of “jie 介” character forms. The texturing for the rocks and mountains employs long intersecting hemp-fiber strokes, building up into patterns that look like fishnets. Mountaintops with clusters of a few gathered alum lumps also appear patternized.(20120103) 内容简介（英文）： Sheng Mao was a native of Lin-an in Chekiang province, but he also lived in Wei-t'ang near Chia-hsing. His style name was Tzu-chao and he was good at landscapes, figure subjects and flowers and birds. He started by studying the art of Ch'en Lin (early l4th c.) and somewhat altered the latter's style. His works were carefully and skillfully executed and contained a little too much virtuosity.The tree leaves in this work are painted using a variation of the type of leaf arrangement known as chieh (介) leaves. The texture strokes on rocks and mountains are of the type known as "long p'i-ma". Painted with overlapping strokes, they build up into patterns that sometimes look like fishnets. Although there is some resemblance to the work of his contemporary Wu Chen, Sheng Mao's paintings are of a somewhat lesser quality and do not have the substance one finds in Wu's better works.