书体:

色彩:

水墨

装裱形式:

轴

创作时间:

清圣祖康熙四十三年（1704）

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：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：干清宫鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：蔡氏巍公书画之章

题跋资料:

题跋类别：作者款识；作者：王翬；题跋位置：本幅；款识：石径盘纡山木稠。林泉如此足清幽。若为飞屩千峰外。卜筑诛茆最上头。倣巨然夏山图笔意。甲申（西元一七０四年）春二月。耕烟散人王翬。；书体：行书；全文： 印记：太原、王翬之印、沧江白发

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：庚辰春日御题；书体：行书；全文：（乾隆庚辰御题。诗文不录。）印记：乾隆宸翰

主题:

主要主题：山水夏景 ；次要主题：山水石磴、栈道栈道；其他主题：建筑水榭 ；其他主题：走兽骡．驴驴；其他主题：树木松 ；其他主题：树木寒林．枯树枯树；其他主题：器用文玩（琴棋书画）书；其他主题：器用花器花瓶；其他主题：器用家俱（屏风）桌、机；其他主题：建筑栏杆 ；其他主题：建筑桥 ；其他主题：建筑房舍 ；其他主题：山水山径 ；其他主题：人物侍从（侍女、童仆）童仆；其他主题：人物高士（士人、隐士）士人；其他主题：山水江河、湖海江河；其他主题：树木  

技法:

写意 皴法披麻皴人物衣纹描法(减笔) 苔点 皴法 

参考资料:

收藏着录： 石渠宝笈续编（干清宫），第二册，页589 收藏着录： 故宫书画录（卷五），第三册，523 收藏着录： 故宫书画图录，第十册，页151-152 内容简介（中文）： 王翬（西元一六三二－一七一七年），常熟人。字石谷，号耕烟散人、清晖主人、乌目山人、剑门樵客。山水得王时敏指授，为清四大家之一。高山峻岭，其下林壑幽深，水亭村屋，连缀于间。笔法能于熟?用生，墨气极得温润婉约之韵。以浅清淡赭层层烘染，遂觉俊雅出尘，卓然超特。成于康熙甲申（一七０四年），时年七十三岁。 内容简介（英文）： Wang Hui was a native of Ch’ang-shu, Kiangsu. His style name was Shih-ku and his sobriquets were Keng-yen san-jen, Ch’ing-hui chu-jen,Wu-mu shan-jen, and Chien-men chiao-k’o. He studied landscape painting with Wang Shih-min (1592-1680) and became one of the Four Great Masters of the Ch’ing Dynasty.Tall Peaks tower above deep valleys verdant with forests. Small villages and cottages dot the landscape. The master’s brush still contains a fresh quality despite the high degree of experience and practice. The ink has captured a gentle and moist harmony enhanced by subtle washes of blue and umber. More handsome and elegant than his usual works, the painting ranks esthetically high among his landscape. Wang Hui completed the work in 1704 at the age of seventy-two. 内容简介（英文）： Wang Hui, style name Shih-ku and sobriquet Keng-yen san-jen, was native to Ch'ang-shu, Kiang-su. In his youth, he studied painting under Wang Chien and Wang Shih-min, later delving into copying Sung and Yüan dynasty works, gradually finding his own way in art. This work was done at the age of 72. The slightly undulating long and short strokes gather and dissipate, expressing the pattern of the mountains and grasping the form of the “hemp fiber” texture method of the Five Dynasties artist Chü-jan (fl. 10th c.). Wang also used the rhythmic movement of the brush, varying between light and forceful, for the moss and lichen dots of deep and shallow as well as light and dark ink, making the work appear even closer to the style of Chü-jan.