书体:

楷书

色彩:

设色

装裱形式:

卷

创作时间:

文字类型:

质地:

画幅纸书幅纸

释文:

（罗大经鹤林玉露。文不录。）

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：宁寿宫续入石渠宝笈
鑑藏宝玺：乐寿堂鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：沈大雅印
收传印记：云岩居士
收传印记：沈姬（半印）
收传印记：在公
收传印记：安元忠印（重二）
收传印记：安元忠印（重一）
收传印记：子静氏鉴赏印（重一）
收传印记：安氏小绿天亭珍藏
收传印记：清
收传印记：旷
收传印记：五渡溪人
收传印记：白少室印

题跋资料:

题跋类别：作者款识；作者：钱榖；题跋位置：本幅；款识：钱榖；书体：行书；全文：钱榖。印记：钱氏叔宝、悬磬室

题跋类别：作者款识；作者：彭年 馀每读此文。则飘飘焉。若身游其间者。居在城市。苦无买山之资。未尝尝是乐也。友人玄圃沈君。世居车坊漾南。有水竹之胜。又能谢去尘务。不入郛郭。惟以壶觞文史自娱。若古之逍遥物外人。高情爽致。颇与斯仿彿文。乃倩磐室钱君绘之图。而俾馀之书。为卧游具。客至则焚香瀹茗。相与展玩。优游永日。不知急景之易颓。真所谓能识其妙者。馀每访沈君。必留连信宿。犹愧未即卜邻。备园翁谿友之一耳。嘉靖乙丑（西元一五六五年）新正晦日。龙池山樵彭年识。；书体：楷书；全文： 印记：彭年孔加、清世逸民

主题:

主要主题：山水  ；次要主题：建筑庭院 ；次要主题：人物高士（士人、隐士） ；次要主题：树木松 ；其他主题：树木杨柳 ；其他主题：器用香炉．火盆炉；其他主题：建筑桥 ；其他主题：树木竹 ；其他主题：山水瀑布 ；其他主题：人物农夫 ；其他主题：人物侍从（侍女、童仆）侍从、童仆；其他主题：花草桃花 ；其他主题：人物仕女 ；其他主题：花草  ；其他主题：器用文房用具笔、纸、砚；其他主题：人物牧童 ；其他主题：走兽牛 ；其他主题：器用饮食器碗、杯、盘；其他主题：器用耕织渔猎耕（锄）；其他主题：建筑篱笆、围墙 ；其他主题：器用家俱（屏风）棹、小几；其他主题：翎毛鸡 ；其他主题：翎毛 鸟；其他主题：走兽鹿 ；其他主题：树木  ；其他主题：建筑房舍 ；其他主题：器用文玩（琴棋书画）书画；其他主题：器用鸟笼 ；其他主题：山水溪涧、湍泉 

技法:

写意 皴法 人物衣纹描法(粗细线条) 人物衣纹描法(减笔) 

参考资料:

收藏着录： 石渠宝笈续编（宁寿宫），第五册，页2870 收藏着录： 故宫书画录（卷四），第二册，页301 收藏着录： 故宫书画图录，第二十一册，页371-376 内容简介（中文）： 彭年（西元一五○五─一五六六年），长洲（今江苏苏州）人。字孔嘉，书法晋人，着有﹝龙池山樵集﹞。钱谷（西元一五○八─一五七二年），长洲人。字叔宝，文征明弟子，山水爽朗可爱。 ﹝鹤林玉露﹞，书名，宋罗大经所着。此则绘其中一段小文，为罗氏自叙山居生活者。画笔疏朗而苍劲，为钱彭之合作，书亦雅秀。据彭题纪年，则此幅成时，彭年六十一岁，钱谷五十八岁。彭年于书成之次年即物故矣。 内容简介（中文）： 钱谷（西元一五０五─一五七八年），江苏长洲人。字叔宝，自号磐室。少孤失学，及长，游文征明门下，读书之馀，兼习绘画。山水、兰、竹俱能。山水以笔墨爽朗见长，运笔布墨，皆较乃师放纵。　本幅后方彭年所书跋中，谓系沈玄圃请彭年书「鹤林玉露」一则，由钱谷就文意作画。本幅长卷，画幅由右至左开展，符合故事叙述。是以文中如汲泉、读书、与麋鹿共游、濯足、印月，均能一一表现。展卷所观，一如读文章之历程，而转成图像。画风则一乃师门。 内容简介（英文）： Ch’ien Ku (style name Shu-pao; sobriquet Ch’ing-shih) was a native of Ch’ang-chou, Chekiang. As a child he was orphaned and did not attend school. Later he received both literary and painting instruction from Wen Cheng-ming (1470-1559). He was an accomplished painter of landscapes, orchids, and bamboo. The principal characteristic of his landscapes is a brisk clarity of brushwork and ink. His brushwork is less restrained and more relaxed than his mentor. In the inscription written by P’eng Nien at the end of this scroll, it is recorded that Shen Hsüan-p’u asked P’eng to write this Ho-lin Yü-lu essay and asked Ch’ien to paint a picture accordingly. The long scroll, viewed from right to left, reveals pictures of such scenes as drawing water from a spring, studying, playing with deer, washing the feet, and enjoying the moon image on water. As one unfolds the scroll, one enjoys viewing the depiction first and then read its text to again savor the aftertaste. 内容简介（英文）： Ch’ien Ku was a native of Ch’ang-chou. His style name was Shu-pao. A student of Wen Cheng-ming (1470-1559), he excelled in landscape painting. P’eng Nien also was a native of Ch’ang-chou (modern Soochow). His style name was K’ung-chia. He modelled his calligraphy after that of Wang Hsi-chih (4th century). “Jade Dew in the Heron Grove” is the title of a book written by Lo Ta-ching of the Southern Sung (1127-1279). This calligraphy and painting, based on a story in Lo’s book, describes life in Lo’s mountain dwelling. The brushwork in the painting is fluent yet strong. The painting is complemented by P’eng’s elegant calligraphy. At the time the scroll was executed, P’eng Nien was 60 and Ch’ien Ku was 57. P’eng died the following year.