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卷

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质地:

本幅绢引首纸隔水绫拖尾一绢拖尾二纸

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印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：重华宫鑑藏宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：乐善堂图书记
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：缉煕殿宝（重五）
收传印记：□赏孙封（重四）
收传印记：陈台先收藏书画印（重五。一半印）
收传印记：雁湖陶氏胜叔甫珍藏（重五。一半印）
收传印记：雁湖陶氏胜叔甫珍藏印（重四。残）
收传印记：胜叔陶氏秘玩（重五）
收传印记：陶明发印念人（连珠印。重十）
收传印记：雁门长印（重一）
收传印记：金粟道人
收传印记：吴氏全节
收传印记：新安吴翼明鉴赏（重一）
收传印记：允明
收传印记：祝希哲
收传印记：吴铉之印（重一）
收传印记：子尚
收传印记：汉元勳长沙皇孙
收传印记：结缘翰墨
收传印记：碧天秋月

题跋资料:

题跋类别：题跋；作者：吴永年引首黄山吴永年书；全文：；书体：草书；全文：五岳图。黄山吴永年书。印记：大京兆章、荆山

题跋类别：题跋；作者： 拖尾 ；书体：行书；全文：太子太师鲁国公臣蔡京。翰林学士臣王黼。中书门下侍郎兼掌祕书院事臣吴履泰。左御道录臣徐知常。奉敕同观。

题跋类别：题跋；作者：徐师回拖尾 ；书体：行书；全文：假守徐师回戊午九月览之。

题跋类别：题跋；作者：盛章拖尾 ；书体：楷书；全文：学士盛章谨观。

题跋类别：题跋；作者：米友仁拖尾 ；书体：行书；全文：政和元年八月二日。敷文阁直学士朝议大夫提举佑神观。米友仁鉴定。

题跋类别：题跋；作者： 拖尾 ；书体：篆书；全文：先云阁临川危氏家藏印记：危氏至宝

题跋类别：题跋；作者：明宣宗拖尾宣德九年三月上巳日。武英殿御题。；书体：行书；全文：曩阅宣和画谱有陆探微补王羲之游五岳图。一时名臣互相披赏。称为尤物。眷念久之。未获一见。意谓不复在人间矣。近因浙中蒋晖入朝。持此以进。深慰朕怀。所惜羲之书已失去。良用惋怅耳。宣德九年三月上巳日。武英殿御题。印记：广运之宝

题跋类别：题跋；作者：李廷贵拖尾蜀人李廷贵；书体：草书；全文：古者秘画珍图名随事立。曲范则有春龝毛诗论语孝经尔雅等图。其次后汉蔡邕有讲学图。梁张僧繇有孔子问礼图。写景则明帝有轻舟迅迈图。顾恺之有雪霁望五老峰图。若此种种不一。要当与六籍并传不朽。此卷为陆探微所绘游五岳图。乃补右军所遗者。宋徽庙皆有御题及玺可据。始也右军之书具在。而探微为之补图。今也探微之绘尚存。而右军之书复失之矣。嗟呼世间得得失失之故岂止一书画哉。是亦不足讶也。宣宗时侍书蒋廷晖获之以呈。宸眷极隆。特加题识。藏诸内库。后复以赐南都魏国家。魏国因征吴下祝京兆先生续书五岳赋于后。而笔精墨妙。可称全璧矣。予以有事南都。得一展观。其山水浑厚。确乎在董巨之上。而御翰辉煌。尤为此图生色。兼之有京兆之笔。不既称三绝耶。识以志吾幸。蜀人李廷贵。印记：廷贵、赐进士千都郎才

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页781-782 收藏着录： 故宫书画录（卷八），第四册，页29 收藏着录： 故宫书画图录，第十五册，页9-14 收藏着录： 陆探微，南朝，宋时吴（今江苏苏州）人。明帝（西元四六五至四七二年）时，以善画人物故实得名。画有「六法」，探微得备。其人物秀骨清像，生动自然，与张僧繇、顾恺之同为南朝时代大画家。本卷画五段，依序为西岳华山、北岳恒山、东岳泰山、南岳衡山、中岳嵩山。画中山陵高耸，树木大都作秋景红叶，画中高士，或对语、或携琴访友，笔墨浊重欠清雅。按陆探微画，北宋宣和画谱仅载十幅，举世今恐无存。本幅原籤题陆探微画，画上所谓宋徽宗题识均存疑。 内容简介（英文）： Lu T'an-wei was a native of Wu (modern Soochow, Kiangsu). He served in the court of the Emperor Ming (r. 465-472 A.D.). He was famous for his figure paintings and his illustrations of historical anecdotes. Later critics have said that Lu's style embodied the "Six Principles" of painting propounded by the sixth century art critic Hsieh Ho. Along with his contemporaries Chang Seng-yu and Ku K'ai-chih, he is considered one of the leading painters of his period. This handscroll is divided into five sections depicting five peaks: the western peak, Hua Mountain; the northern peak, Heng Mountain; the eastern peak, T'ai Mountain; the southern peak, Heng Mountain, and the central peak, Sung Mountain. Each lofty mountain dominates the surrounding landscape. The leaves on most of the trees have turned to autumn red. Scholars sit and converse, one has brought a lute with him as he visits his friends. The brush and inkwork are muddled and lacking in grace. The Sung dynasty (960-1279) book, the Hsüan-ho Catalogue of Painting, lists only ten existing works by Lu T'an-wei. There are unfortunately no genuine works by this artist currently extant. This painting was attributed to Lu T'an-wei in a dubious inscription said to be by the Sung Emperor Hui-tsung.