书体:

色彩:

浅设色

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅纸对幅纸

释文:

印记资料:

鑑藏宝玺：古希天子
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：太上皇帝之宝
收传印记：汝弼
收传印记：（一印不辨）

题跋资料:

题跋类别：作者款识；作者：黄公望；题跋位置：本幅；款识：积雨紫山深。楼阁结沈阴。道书摊未读。坐看鸟争林。子久。；书体：行书；全文： 题籤   ；书体：楷书；全文：元黄公望雨巖仙观。

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：无；书体：行书；全文：（乾隆御题。诗文不录。）印记：云霞思

题跋类别：题跋；作者：尹继善对幅 ；书体：行书；全文：（臣工恭题。诗文不录。）印记：敬画

题跋类别：题跋；作者：刘纶对幅 ；书体：行书；全文：（臣工恭题。诗文不录。）印记：臣、纶

题跋类别：题跋；作者：王际华对幅 ；书体：行书；全文：（臣工恭题。诗文不录。）印记：臣、华

题跋类别：题跋；作者：钱维城对幅 ；书体：行书；全文：（臣工恭题。诗文不录。）印记：臣城、染翰

题跋类别：题跋；作者：曹文埴对幅 ；书体：行书；全文：（臣工恭题。诗文不录。）印记：臣埴

题跋类别：题跋；作者：彭元瑞对幅 ；书体：行楷书；全文：（臣工恭题。诗文不录。）印记：臣、瑞

题跋类别：题跋；作者：陈孝泳对幅 ；书体：行书；全文：（臣工恭题。诗文不录。）印记：臣、孝泳

主题:

主要主题：山水雨景 ；其他主题：山水溪涧、湍泉 ；其他主题：山水云 ；其他主题：树木  ；其他主题：树木松 ；其他主题：建筑房舍 ；其他主题：建筑寺庙道观

技法:

写意 皴法米点皴

参考资料:

收藏着录： 石渠宝笈续编（干清宫），第一册，页504 收藏着录： 故宫书画录（卷六），第四册，页197 收藏着录： 故宫书画图录，第二十九册，页198-207 参考书目： 1.邱士华，〈传元黄公望雨巖仙观〉，收入何传馨主编，《山水合璧：黄公望与富春山居图特展》（台北：国立故宫博物院，2011年五月初版一刷），页361-362。 内容简介（中文）： 画幅近景云气蒸腾，一片水色烟村之景，山腰林间宫观处，亦为雾气环绕，于漫汗湿气中，远景双峰兀立。此帧撮笔触纸，圆浑涩辣，并以淡墨晕染，苍老中兼有静穆之韵，兼具米氏与方从义云山之风格意趣。清高宗与其臣工题诗，均将此作视为黄公望之作。然字迹、画蹟皆与黄公望作品不符，而与吴门画家谢时臣（1487-1567）相近。原本或非作伪，而遭后人窜改为黄公望作品。(20110609) 内容简介（中文）： 黄公望（西元一二六八至一三五四年）富阳人。字子久，号一峰，又号大痴道人。晚号井西道人。山水以董源为宗，而能化身立法，为元四大家之云冠。此帧撮笔触纸，如引锥画沙，无处不圆浑，亦无处不涩辣也。皴纹极少，以澹色和墨烘染而成，故苍老中而有静穆之韵。秃笔熟纸，与富春山居图成另一面目，或即「皴纹极少，笔尤简远」之类欤。本幅选自「名画琳瑯」册。 内容简介（英文）： Huang Kung-wang was a native of Fu-yang. His style name was Tzu-chiu; his sobriquets were I-feng, Ta-ch'ih tao-jen and Ching-hsi tao-jen. In landscape he followed the Tung Yüan school, eventually establishing his own style. Huang Kung-wang is included among the Four Masters of the Yüan Dynasty.In this painting, the brush line is round and tough; there is little use of ink dabs. The artist used light color and ink washes to complete the painting. The painting style differs from that found in the well-known "Dwelling in the Fu-ch'un Mountains" handscroll. 内容简介（英文）： The foreground of this painting features rising clouds and mists that reveal a hazy village scene. All the way back to the temple buildings are forested foothills, also enveloped in a foggy atmosphere, as two peaks stand out in the background of this moist and humid scene. Dabbed with a stubby brush on the paper, the mellow yet abrupt features are complemented by light haloes of ink. With a feeling of serenity in the hoariness, it combines the Mi Family style with that of Fang Congyi.Both the poems of the Qing emperor Gaozong (Qianlong) and his officials here consider this to be a work by Huang Gongwang. The style of calligraphy and painting, however, do not accord with his other works, appearing closer instead to that of the Wu School painter Xie Shichen (1487-1567). The original, probably not done as a forgery, was falsified by a later hand to appear as if to be a work by Huang Gongwang.(20110609)