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：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：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：希之

题跋资料:

题跋类别：作者款识；作者：沈周；题跋位置：本幅；款识：米不米。黄不黄。淋漓水墨馀清苍。掷笔大笑我欲狂。自耻嫫母希毛嫱。于乎。自耻嫫母希毛嫱。廷美不以予拙恶见鄙。每一相觌。辄荦挽需索。不间醒醉冗暇。风雨寒暑。甚至张灯亦强之。此□本昨晚酒后。颠□错谬。廷美亦不弃。可见□索也。石田志。；书体：草书；全文：

题跋类别：作者款识；作者：沈周；题跋位置：本幅；款识：贺盛楼此题。可为仆之小传。但其间家宝拱璧之喻。似与人卖弄长价。但未执牙筹耳。世贤亲家之见爱。未必非吾盛楼所从臾耶。一笑。沈周。；书体：草书；全文： 印记：启南

题跋类别：题跋；作者：陈蒙；题跋位置：本幅；款识：陈蒙题；书体：草书；全文：沈郎爱山水。每传山水神。颠痴已不作。夫乃见后身。观其落笔时。只赤千里真。意与元气会。胸次无一尘。云岚互吞吐。草树空四邻。中峰何峥嵘。群峤相主宾。彷彿天台洞。中有避世人。何当采药去。看此桃花春。陈蒙题。

主题:

主要主题：山水  ；次要主题：树木寒林．枯树枯树；次要主题：船渔船二艘；次要主题：山水江河、湖海湖；次要主题：人物渔夫、船夫渔夫二人；次要主题：树木  

技法:

写意 皴法披麻皴苔点 

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页325-326 收藏着录： 故宫书画图录，第六册，页223-224 参考书目： 1.江兆申，〈沈周画山水　轴〉，收入国立故宫博物院编，《吴派画九十年展》（台北：国立故宫博物院，1975年初版，1976年再版，1981年三版），页295。2.邱士华，〈明沈周画山水〉，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335。 内容简介（中文）： 此画亦为刘珏作，画成于醉后。据沈周自跋，刘珏极爱沈周之画，每一晤面，輙求周作，不间醒醉冗暇寒暑，甚致夜亦张灯，强之作画云。 枯树枝用笔劲挺，中部两峰相并。右面一峰尖瘦细长，峰上小树用笔疏朗，皆与崇山修竹轴近似。惟一醒一醉，工率略异耳。庚寅（一四七○）辛卯之间，珏与周来往甚密，而珏死于壬辰（一四七二），故疑此幅与崇山修竹成于同年，为四十四岁所画。自题米不米，黄不黄，盖意在黄公望。周不能饮，强之，一两樽輙醉。 内容简介（英文）： This landscape was painted for Liu Chüeh, after a bout of drinking. According to Shen Chou’s inscription, Liu was extremely fond of Shen’s paintings and begged for one each time they met, regardless of whether Shen was drunk or sober, busy or at leisure, in summer heat or winter cold; even at night with lanterns lit, Liu would compel Shen Chou to paint. The branches of the withered trees in this painting were executed with strong, blunt brushstrokes. Two peaks stand linked in the middle distance; to their right rises a smaller peak, slender and pointed. The small trees on the mountains are executed in a casual but distinct manner which is close to that of “Lofty Mountains and Towering Bamboo”. The differences between the two are explained by the fact that one was executed when sober, the other when drunk. Shen and Liu were particularly close in 1470 and 1471; Liu died in 1472. Thus this “Landscape” was probably painted in the same year as “Lofty Mountains”, when Shen was fourty-three years old. He says in his inscription, “Mi is not Mi, Huang is not Huang.” This probably means that his original idea was to paint in the style of Huang Kung-wang, but he was pressed by Liu Ch üen to drink some wine and could not carry out his intent. 网页展示说明 本幅前景作疏树数株，隔江双峰并列，其间有V字形山坞，暗藏矾头与深浅林木，透露生意。远山以数笔简率勾勒山形，或以墨烘染。通幅皴山画树，用笔疏朗。自题云「米不米，黄不黄，淋漓水墨馀清苍。」画中山石以水墨烘染，似取法米氏云山烟树之朦胧风格；而清苍简率之画境，或仿效黄公望「皴纹极少」、「笔意尤为简远」一类作品。 (20110609) 网页展示说明 Shen Zhou (style name Qi'nan; sobriquets Shitian and Baishiweng) was a native of Changzhou in Jiangsu (modern Wuxian). He excelled at the arts of poetry, calligraphy, and painting, especially landscapes in the latter. Shen was also skilled at depicting flowers, fruits, and vegetables as well as animals, his use of brush and ink having an archaic simplicity.The foreground of this painting depicts a few scattered trees separated from two peaks behind with a ''V''-shaped depression concealing alum heads and forests of varying density for much life. The distant mountains were outlined with a few simple strokes of the brush and washes of ink. The texturing of the mountains and painting of the forests throughout are done with sparse brushwork. Shen's own inscription on the painting states, ''Mi but not Mi, Huang but not Huang; in the surplus of dripping ink is pure hoariness.'' The washes of ink for the mountain forms appear to derive from the misty style of cloudy mountains and enshrouded trees of the Mi Family (Mi Fu and Mi Youren). The painting of simple directness for the pure hoariness perhaps is in imitation of Huang Gongwang's type of work known for its ''extremely few texture strokes'' and ''brush manner exceptionally simple and remote.''(20110609) 网页展示说明 前景には数株の树木が描かれ、川の向こうには二つの峰が并んでいる。その山间にあるV字型の洼地に、矾头（岩石）とまばらに生えた树木が隠されており、全体に生気に溢れている。远山の一つは简洁な笔遣いで轮郭线が描かれ、もう一つは墨で染められている。全体に皴法を用いた山と树木が描かれ、用笔はすっきりとして明るい。自题は「米不米、黄不黄、淋漓水墨馀清苍。」とある。画中の山石は水墨で浮かび上がるように染め上げられ、米芾が描いた云山烟树の朦胧とした画风を取り入れているように见える。しかし简洁に描かれた、静谧な趣を湛える画境は、黄公望の「极めて少ない皴纹」、「素朴かつ深远な笔意」に属する作品を模倣したものかもしれない。 (20110609) 研究性论着： 沈周（1427-1509）字启南，号石田，自称石田翁。长洲（今江苏苏州）人。父沈贞吉（1400-？）叔沈?吉（1409-1477）皆工唐律，亦善绘事。山水少承家法，四十岁前师王蒙（1308-1385），中年后以黄公望（1269-1354）为宗，晚乃醉心吴镇（1280-1354），然皆能出入变化，而具自家风貌。一时名士若唐寅（1470-1523）、文征明（1470-1559）之流，咸出其门。其画以水墨山水为主，写意花卉鸟兽亦甚佳，影响后人甚钜，为明四大画家之首。疏树数株，笔法中锋劲挺。后两峰并列，中有一坞系黏，左侧后方又延一峰，不施皴擦只以墨染，远峰亦以墨略勾勒淡烘染。通幅皴山画树，用笔疏朗，与黄公望名蹟「富春山居」图卷有若干契合处；而大片水墨烘染山石则似又自米芾（1501-1107）出。自题云「米不米，黄不黄，淋漓水墨馀清苍。」落笔布墨间，盖心有所寄故能从腕底陶融调匀，蜕化而成。年齿大沈周十馀岁的刘玨（1410-1472）极爱周之画，每与玨晤面，不问「寒暑风雨日夜冗暇醒醉」，皆强之作画。据沈周于画上自题云，知此幅乃作于酒后，笔墨清朗率略，与细致疏秀的「崇山修竹」有同工之趣，二幅成画时间当甚接近，约于成化庚寅（1470）之际，时沈周四十四岁。（注1）沈周不善饮，自谓平生于酒至痛饮处仅升许，而于六十五岁（弘治辛亥，1491）作〈老杯酒轩诗引〉中尝言之所以不戒酒者，「以其有醉之乡，处之可以佚吾老也。」（注2）三两小杯醺醺然为乐，益可增添画趣，周之不欲绝者当非无因。注1：国立故宫博物院编，《吴派画九十年展》（台北：国立故宫博物院，1975）页295，图版017，「沈周画山水」说明。注2：沈周，《石田先生集》（明万历陈仁锡编刊分体本）（台北：国立中央图书馆编印，1968），第二册，页805-808。