书体:

色彩:

水墨

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：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
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺

题跋资料:

题跋类别：作者款识；作者：董其昌；题跋位置：本幅；款识：夏木垂阴。董北苑夏木垂阴图。观于长安吴太学所。始知黄子久出蓝之自。米元章评其书云。口能言而笔不随。馀画政如此。董玄宰。；书体：行书；全文： 印记：宗伯学士、董氏玄宰

主题:

主要主题：山水夏景 ；次要主题：树木  ；其他主题：山水山径 ；其他主题：山水江河、湖海江河；其他主题：山水溪涧、湍泉溪涧；其他主题：建筑房舍 

技法:

写意 皴法披麻皴皴法米点皴

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2071 收藏着录： 故宫书画录（卷五），第三册，页460 收藏着录： 故宫书画图录，第八册，页231-232 参考书目： 1.何传馨，〈明董其昌夏木垂阴〉，收入何传馨、许郭璜编，《夏景山水画特展图录》（台北：国立故宫博物院，1991年七月初版），页103。2.林莉娜，〈明董其昌夏木垂阴图〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页324。 内容简介（中文）： 董其昌（1555－1636），江苏华亭人。字玄宰，号思白。万历十七年（1589）进士，官至礼部尚书。画山水宗法五代董源、巨然，并集宋元诸家之长，而成自家风貌。笔墨爽朗潇洒，秀润苍郁，别有风格。收藏甚丰富，又兼擅书法，精于赏鑑。近景画两树擎立，佔画面三分之一；隔岸主峰双层叠峙，其间穿错着林木、山岚、屋宇、流泉，起伏有势，层层远去，构图简明而气概雄伟。画中山树用笔抑扬提顿，全从书法中得来，婉转灵动富变化。用墨浓淡燥湿，层次很多，为董其昌传世画蹟中的巨幅佳作。董其昌《画眼》论画山云：「山不在多，以简为贵。」又说：「古人运大轴，只三四大分合，所以成章。」强调如何掌握山川气势，并舍弃细碎繁琐，以符合北宋阔重恢弘的胜概。董其昌这些见解，从这幅作品中可以看到他理论与创作的密切结合。画上董其昌自题云，曾经在长安吴太学家中，见到董源的〈夏木垂阴图〉后，认为黄公望虽然受董源影响，却青出于蓝，不必让古人专美于前。并且又谦虚引述米芾的话，说自己的绘画理论胜过笔下工夫。（许郭璜） 内容简介（中文）： 董其昌（西元一五五五－一六三六），江苏华亭人，字玄宰，号思白。万历十七年进士。官至礼部尚书。善书，行草为有明一代之冠。画山水，宗北苑、巨然。集宋元诸家之长。笔墨爽朗潇洒，秀润苍郁，别有风格。富收藏而尤精于鉴赏。曾着容台集、画旨、画禅室随笔诸书。影响后代的画论及艺术发展很深。此幅笔法，仿五代董源，而参以黄公望作风。用笔全从书法中来的。提顿抑扬，婉转有变化。用墨浓淡燥湿，变化层次很多。构图复杂而不乱，是一幅杰出的好画。 内容简介（英文）： The calligraphic brushwork in this painting is modeled on that of the Five Dynasties master Tung Yüan (fl 937-975), but was also influenced by the brushwork of Huang Kung-wang of the Yüan dynasty. The brush was handled as though writing characters, each stroke driven to its conclusion with the lifting, pushing, and twisting wrist movements that are specifically identified with the practice of calligraphy. There are also great variations in the ink tones, shading from dark to light and wet to dry. The composition is complex but not confused, yielding a remarkably good painting. Tung Ch’i-ch’ang (style name Hsüan-tsai) was a native of Hua-t’ing in Kiangsu province. Receiving the Advanced Degree in 1589, he ultimately became a Minister of the Ministry of Rites. In landscape painting he followed Tung Yüan and Chü-jan of the Five Dynasties period (907-960). His brushwork was nuconventional, and his ink, moist and lush; using these he succeeded in establishing a style of his own. A collector of paintings, he was especially knowledgeable in matters of connoisseurship and exerted a profound influence on later painters and critics that persists down to the present. he is the author of Jung-tai chi, Hua-chih, and Hua-ch’an-shih sui-pi. 网页展示说明 董其昌（1555－1636），字玄宰，松江华亭人。董氏由鑑赏家吴廷处观览董源同名之作，后追仿此画，并加入黄公望的笔意。全幅山石树木上下相对，左右开阖，浓墨留白强烈对比。成功运用水墨浓淡干湿及点线技法，呈现江南山水秀润华滋之态，观者亦可感受夏日树荫的凉爽清幽。董氏由临摹仿古入手，终至「集其大成」，塑造出诸元素重组的「胸中丘壑」。此轴为其中、晚年佳构，如此巨幅山水极少见。(20110913) 网页展示说明 Dong Qichang (style name Xuanzai) was a native of Huating in Songjiang. Dong, after seeing a painting by this title by Dong Yuan at the residence of the connoisseur Wu Ting, did this work in imitation of it, also adding the brush manner of Huang Gongwang. The mountains and trees throughout the painting here are set off against each other as the spaces to the left and right open up, the dark ink and areas of white also creating a dramatic contrast. The successful application of ink in varying areas of wetness and darkness along with the techniques of lines and dots express the elegant moistness and luxuriant beauty of the Jiangnan landscape. The viewer can also sense the feeling of a cool, pure silence in the shade of trees on a summer day. Dong Qichang approached the study of painting by copying the ancients, finally achieving a “Grand Synthesis” and being able to combine various elements and motifs into “landscapes of the heart.” This is a masterpiece from Dong’s middle to later years, and such a monumental landscape is exceptionally rare.(20110913)