书体:

色彩:

设色,青绿

装裱形式:

轴

创作时间:

明熹宗天启五年（1625）

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：关思；题跋位置：本幅；款识：黄子久山水。出自董北苑。而气韵奇峻。又一洗宋人院本之习。遂为胜国名家。子久真蹟流传人间者。已若晨星。董宗伯玄宰最嗜子久画。所藏独夥。其法一本之子久。此帧冈陵林石。平远幽曲。而一种生秀之气。直为子久传神。必子久曾有此图。而宗伯倣之者也。友人持宗伯画示馀。展玩殊不忍去手。漫为效颦。恐一蟹不如一蟹矣。识此博笑。时乙丑（西元一六二五年）清和朔后日也。虚白道人关思。；书体：行书；全文： 印记：关九思印、关氏仲通

题跋类别：题跋；作者：韩敬；题跋位置：本幅；款识：韩敬题；书体：草书；全文：关仲通少以绘事游京国。名借甚。而今且纸贵洛阳矣。王处仲初不见知于叔。后乃识之。陈子昂破千金之琴。诗名始着。名士大抵然也。仲通学博思深。自多灵异。每作一画。援笔立就。而丘壑奇渺。聿出新裁。无不师古。此仿黄大癡。清韵袭人。饶有仙气。仲通留心内外之学。此殆其九还丹耶。韩敬题。印记：太史氏、韩敬之印

主题:

主要主题：山水  ；次要主题：山水瀑布 ；次要主题：建筑房舍 ；其他主题：山水山径 ；其他主题：山水江河、湖海 ；其他主题：树木  ；其他主题：树木松 ；其他主题：树木竹 ；其他主题：树木杨柳 ；其他主题：建筑篱笆、围墙围墙；其他主题：建筑桥 ；其他主题：建筑亭 ；其他主题：花草芦苇 ；其他主题：器用香炉．火盆香炉；其他主题：器用家俱（屏风）椅凳、桌；其他主题：器用文玩（琴棋书画）琴、书、画；其他主题：器用花器 ；其他主题：人物侍从（侍女、童仆）童仆２人；其他主题：人物高士（士人、隐士）７人

技法:

写意 皴法披麻皴人物衣纹描法(减笔) 苔点 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2017 收藏着录： 故宫书画录（卷五），第三册，页431-432 收藏着录： 故宫书画图录，第九册，页129-130 内容简介（中文）： 关思（活动于西元一六００至一六三０年间）一名九思，字仲通，号虚白，浙江乌程人，善诗书画，山水宗法宋元，人物亦佳。　幅上自题见董其昌学黄公望画，有生秀之气，因此作画仿之，以得黄公望精神。　画用青绿设色，深浅效果鲜明，用笔略软，点景人物活泼。构图脉胳清晰，是晚明作风。近景溪流蜿蜒，贯穿平坡房舍，迳接上方远景瀑布。观赏者彷若漫步其间，感觉亲切。 内容简介（英文）： Kuan Ssu or Kuan Chiu-ssu (tzu Chung-t’ung; hao Hu-pai) was a native of Wu-chen, Chekiang. A skilled poet, calligrapher and painter, he was noted particularly for landscapes in the style of the Sung masters but was also a capable figure painter. In his own inscription on the painting, Kuan states that he had seen a painting by Tung Ch’i-ch’ang (1555-1636) which was based on the style of the Yüan artist Huang Kung-wang (1269-1357). Indeed he has been able to capture some of the elegance and grace, as well as the spirit of Huang’s style. Here Kuan Ssu has employed strongly contrasting blues and greens to effect a sharp and distinct definition of forms. The brushwork is gentle, the scenery and figures are sprightly and the composition is clearly defined; all important elements of the general style of the late Ming. In the foreground a stream twists and turns flowing gently. Houses occupy the distant bank and call our attention to a path which gives us visually from these houses to a distant waterfall. The artist seems to invite the viewer to ramble among his mountains and rivers, giving us a sense of intimate contact with nature.