书体:

色彩:

水墨

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：郭熙；题跋位置：本幅；款识：河阳郭熙写；书体：楷书；全文： 印记：（不可辨）

主题:

主要主题：山水  ；其他主题：山水溪涧、湍泉 ；其他主题：山水瀑布 ；其他主题：人物侍从（侍女、童仆） ；其他主题：人物行旅 ；其他主题：树木  ；其他主题：树木 松；其他主题：走兽骡．驴 ；其他主题：建筑茅草屋 ；其他主题：建筑寺庙 ；其他主题：建筑亭 ；其他主题：船渔船 ；其他主题：器用文玩（琴棋书画） ；其他主题：山水山径 ；其他主题：山水江河、湖海 ；其他主题：人物高士（士人、隐士） ；其他主题：人物渔夫、船夫 ；其他主题：人物百姓 ；其他主题：树木寒林．枯树 ；其他主题：走兽马 ；其他主题：走兽狗 ；其他主题：建筑店舖 ；其他主题：建筑塔 ；其他主题：建筑桥 ；其他主题：器用家俱（屏风） 

技法:

皴法卷云皴

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页53 收藏着录： 故宫书画图录，第一册，页219 参考书目： 1.许郭璜，〈明人山庄高逸〉，收入《李郭山水画系特展》（台北：国立故宫博物院，1999年初版），页85-88。2.〈传宋郭熙山庄高逸（明李在）〉，收入陈阶晋、赖毓芝主编，《追索浙派》（台北：国立故宫博物院，2008年初版一刷），页172。 内容简介（中文）： 画山中酒店旅客聚集，老翁悠然鼓琴，另有行旅渡船者，画中人物的生活片段与自然山水及楼阁茅舍亭桥紧密结合，显出热闹的气氛。　本幅旧传为郭熙之作，以画风论已入明际。近代学者研究认为是出于李在手笔。李在，字以政，莆田人，宣德（一四二六－一四三五）时与戴进、周文靖等同待诏直仁智殿，画山水学郭熙及马远、夏珪。 内容简介（中文）： 郭熙（西元11世纪），河南温县人，宋神宗为宋画院学艺。画山水寒林，巧为构思经营，因此位置渊深。虽然学李成的作风，但也能自放胸壑。着有山水画论一书，论远近浅深，风雨晦明，及四季朝暮的变化，可为后世学画的规式。 画山中酒店旅客聚集；山庄老翁，悠然鼓琴。侧房一人，正在读书。山道上老者二人、童子一人缓缓而来。远处行旅骑驴过桥。山庄形势环山抱水，景色繁复而不乱，是幅佳作。 内容简介（英文）： Kuo Hsi, a native of Wen-hsien, Honan, served as an artist-in-apprenticeship in the Imperial Academy of Painting under the emperor Shen-tsung (r. 1068-1086). The superb compostion and arrangement of his landscapes and winter forests lend them great depth of space. Although heavily influenced by Li Ch’eng, he nevertheless had his own style. Kuo Hsi authored a book on landscape painting that discussed such themes as distance, depth, wind and rain, light and shadow, and the changes of night and day and of the four seasons. This painting depicts a wine shop in the mountains where travelers are gathered. In the mountain hermitage, an old scholar leisurely plays his lute; another figure is studying in a side room. Two old men on the mountain path are slowly followed by a servant boy, while father in the distance a traveler astride a donkey crosses a bridge. The terrain consists of a circle of mountains enfolding a stream of water. The scenery of this masterpiece is complex without appearing cluttered. 内容简介（英文）： This work depicts a shop in the middleground where travelers have gathered. In the foreground is a hermitage to which figures approach and where a scholar plays the zither. Two figures are about to cross the bridge and another two are on a boat. The middle-and background are punctuated by various buildings, including a pagoda. The activities of the figures, the natural landscape, and the buildings are all coordinated to create a busy yet relaxing atmosphere. The unbridled brushwork reflects that of the Che School in the Ming dynasty, indicating that the signature of Kuo Hsi is a later addition. Kuo Hsi, a native of Honan, was a court painter whose theory on landscape became the foundation for Chinese landscape painting.