书体:

色彩:

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：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：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：王原祁；题跋位置：本幅；款识：臣王原祁恭画；书体：楷书；全文： 印记：臣原祁

主题:

主要主题：山水  ；其他主题：建筑桥 ；其他主题：建筑房舍 ；其他主题：建筑水榭 ；其他主题：树木松 ；其他主题：山水江河、湖海江河；其他主题：树木  

技法:

写意 皴法披麻皴苔点 

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页671 收藏着录： 故宫书画录（卷五），第三册，页538 收藏着录： 故宫书画图录，第十册，页347-348 内容简介（中文）： 王原祁自康熙九年（1670）取得进士，入朝为官。于三十年后（1700年前后），获诏入内府鑑定书画，康熙52年（1713）为《万寿盛典》初集绘图，是皇帝的文化顾问之一。王原祁被收入宫廷的作品不少，除一般款属「王原祁」的作品之外，另有加署「臣王原祁恭画」的作品数件，此为其中之一。这类签署臣款的作品，都未有纪年。此件作品，着重中远景的山体推移，借层层山脉累加出远阔的空间感，与前一作品〈秋山图〉略有区别。此外，整体画面笼罩在浅淡绿色调中，更由于大量的留白运用于山体底部，整而透析出一股洁净、轻动的效果。这种画面情调，可在许多臣字署款的王原祁作品中见得，一方面与王原祁晚年作风有关，另一方面或许也可推测是与宫廷流风相呼应。（陈韵如） 内容简介（中文）： 王原祁，江苏太仓人（西元一六四二至一七一五）时敏之孙。字茂京，号麓台，康熙庚戌进士，历官少司农。画由家学，远迈时伦，为清四大家之一。画中前景是蓊郁的树林，掩映中有几栋水榭房舍，一水中斜，贯穿整个画面，小桥联系两岸，引人步入村中。湖山深旷，曲折中颇令人兴起清远的感觉。 内容简介（中文）： 王原祁（西元一六四二－一七一五年），江苏太仓人，时敏之孙。字茂京，号麓台，康熙九年进士，官至户部侍郎。画由家学，远迈时伦，为清四大家之一。　画中前景是蓊郁的树林，几栋水榭房舍掩映其中，一水贯穿整个画面，小桥连系两岸，引人步入村中。湖山深旷，曲折中令人兴起幽静清远之感。(20120103) 内容简介（英文）： Wang Yuanqi (style name Maojing, sobriquet Lutai), a native of Taicang, Jiangsu, was a grandson of Wang Shimin. A Presented Scholar of 1670, he served up to the post of Vice Minister of Revenue. Wang Yuanqi learned to paint in the artistic atmosphere of his family, with his style surpassing contemporaries so that he was included among the Four Qing Masters.In the foreground of this work, verdant woods conceal a few houses by the river, which flows diagonally across the composition and leads the viewer into the village with a small bridge linking the riverbanks. The wide lake and deep mountains create a feeling of pure and remote expanse that is also tranquil.(20120103) 内容简介（英文）： Wang Yűan-ch’i, tzu (style name) Mao-ching, hao (sobriquet) Lu-t’ai, a native of T’ai-ts’ang, Chiang-su province, was a grandson of the noted artist and collector Wang Shih-min. In 1670 he received his chin-shih degree and later served in several high official positions. Wang learned to paint from having grown up in the refined artistic atmosphere of his family, but his style surpassed from those of his contemporaries. He was included among the Four Great Master of the Ch’ing dynasty.In the foreground, verdant woods conceal a few houses by the river. The river flows diagonally across the painting leading the viewer into the village and a small bridge which links the riverbanks. The wide lake and deep mountains create a feeling of tranquil expanse.