书体:

色彩:

设色,青绿

装裱形式:

轴

创作时间:

清世祖顺治十五年（1658）

文字类型:

质地:

本幅纸诗塘纸

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：养心殿鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：王鑑；题跋位置：本幅；款识：戊戌（西元一六五八年）春二月。倣赵松雪茂林萧寺。湘碧鑑。；书体：行楷书；全文： 印记：玄照、湘碧

题跋类别：题跋；作者：吴伟业诗塘弟吴伟业。题于真想斋。；书体：行书；全文：晓雨溪山涨绿芜。碧澜堂畔远峰孤。谁将秀邸王孙笔。改作廉州刺史图。赵承旨于京师。同鲜于诸公。高会万柳庄。贾人携千金随之。随所渲染易去。今其地遗址尚存。馀在大都。尚有谈其事者。照老此幅。真足乱真。得者宜珍重。以名香宝鼎作供养也。弟吴伟业。题于真想斋。印记：吴伟业印、骏公、梅花菴

主题:

主要主题：山水  ；次要主题：建筑台阁 ；其他主题：山水江河、湖海江河；其他主题：树木杨柳 ；其他主题：建筑桥 ；其他主题：树木  ；其他主题：山水山径 ；其他主题：人物高士（士人、隐士） ；其他主题：器用枴杖 ；其他主题：山水云 

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： 石渠宝笈续编（养心殿），第二册，页1144 收藏着录： 故宫书画录（卷五），第三册，页510 收藏着录： 故宫书画图录，第十册，页75-76 内容简介（中文）： 王鑑（西元一五九八－一六七七年），太苍人。字圆照，号湘碧，自称染香庵主，世贞之孙。仕至廉州知府，精通画理，山水为清四大家之一。画水上群山，逶迤一迳，老者策杖踯躅于其间。纸生笔涩，用大绿与赭。自题：仿赵孟頫。此幅成于顺治戊戌，作者六十一岁。 内容简介（中文）： 王鑑（西元一五九八－一六七七年），江苏太仓人，号湘碧。明代名士王世贞孙，山水与王时敏、王翬、王原祁并称清初四王。四王深受明末董其昌画论影响，崇尚画史「南宗」。明中叶后仇英青绿山水画风盛行，王鑑另闢蹊径习赵孟頫青绿。自题：戊戌（一六五八年）春二月，倣赵松雪茂林萧寺。群山中一迳逶迤，高士策杖其间；巖豁梵宇，涧水石桥。笔墨秀丽，山脉走向带有动势。全幅典雅清丽。 内容简介（英文）： Wang Chien, native to T’ai-ts’ang, Kiangsu, was the grandson of the renowned Ming scholar Wang Shih-chen, his landscapes ranking him among the Four Early Ch’ing Masters. The Four Wangs, including Wang Chien, were influenced by the late-Ming theories of Tung Ch’i-ch’ang, who venerated the “Southern School.” After the middle Ming, Ch’iu Ying’s blue-and-green style rose in popularity, but Wang Chien blazed a new trail using Chao Meng-fu’s. His inscription here is dated to 1658. A path winds through mountains as a lofty scholar walks with a staff. In the rocky opening is a Buddhist temple, the water rushing under a stone bridge. Brush and ink are elegantly beautiful, the mountain ranges seemingly alive. The work is as classical as it is pure. 内容简介（英文）： Wang Chien was the great-grandson of the scholar-artist Wang Shih-chen and a distant relative of Wang Shih-min. After passing the civil service examinations, Wang Chien served as a Prefect in Canton under the last Ming emperor. As a painter he was influenced by Tung Ch’i-ch’ang and the Yüan dynasty landscapists. He is considered as one of the Four Wangs of the Ch’ing dynasty.A rise of mountain peaks overlooks the water. An old man learning on a staff meanders along the winding path. The unsized paper registers slow astringent brushwork. Bright mineral greens and sepias further enliven the ink tones. This painting, a copy of Chao Meng-fu’s “Temple in a Lush Forest,” was done in 1658.