书体:

色彩:

设色

装裱形式:

卷

创作时间:

唐玄宗开元二十四年（736）

文字类型:

质地:

本幅绢

释文:

印记资料:

收传印记：苏轼（半印）
收传印记：秘府（半印）
收传印记：道宁□□
收传印记：郑元祐印
收传印记：贡师泰印
收传印记：句曲外史
收传印记：北子□书画印
收传印记：（半印不可辨）

题跋资料:

题跋类别：作者款识；作者：王维；题跋位置：本幅；款识：昔年曾拈此题。绘为小幅。未尽其致。今岁居辋川与裴子商确。敷为长卷。少足以当吾心耳。开元二十四年（西元七三六年）太原王维制。；书体：篆书；全文：

题跋类别：题跋；作者： ；题跋位置：本幅；款识：无；；书体：篆书；全文：千巖竞秀万壑争流

主题:

主要主题：山水  ；次要主题：山水溪涧、湍泉 ；次要主题：建筑水榭 ；次要主题：建筑回廊 ；其他主题：山水石磴、栈道 ；其他主题：山水山径 ；其他主题：山水江河、湖海江河；其他主题：山水瀑布 ；其他主题：人物高士（士人、隐士）高士；其他主题：人物侍从（侍女、童仆）童仆；其他主题：人物百姓 ；其他主题：树木寒林．枯树 ；其他主题：树木松 ；其他主题：树木竹 ；其他主题：花草藤萝 ；其他主题：走兽骡．驴 ；其他主题：建筑台阁 ；其他主题：建筑茅草屋 ；其他主题：建筑寺庙 ；其他主题：建筑亭 ；其他主题：建筑桥 ；其他主题：建筑栏杆 ；其他主题：建筑篱笆、围墙 ；其他主题：船  ；其他主题：船帆船 ；其他主题：器用家俱（屏风）家俱；其他主题：器用文玩（琴棋书画）琴

技法:

工笔 界画 人物衣纹描法(匀称线条) 

参考资料:

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53-58 内容简介（中文）： 此长卷画云水飞动，山谷郁郁盘盘、江岸连绵千里，台地、山涧、飞瀑流泉、崖亭水榭、长桥村落等各式景观，俱现笔端。然通幅之山石树木，相似造型往往重复出现；用笔虽工整，有提顿转折之处，却少变化，欠笔力，偏于平板，当是后人假讬王维之作。王维（西元七○一—七六一年），字摩诘，山西祁县人。以诗名盛于开元、天宝间，书画特臻其妙。工草隶，尤工画山水，笔墨宛丽，气韵高清，画中极富诗意。 内容简介（中文）： 此长卷画云水飞动，山谷郁郁盘盘，江岸连绵千里，有台地、山涧、飞瀑流泉、崖亭水榭、长桥村落等各式景观。然通幅之山石树木，相似造型往往重复出现，略显平板。画中山脉走势相连，似有龙脉结组概念，枝叶分布树干两侧的树法近似董其昌风格，旧传唐代画家王维，不过从画风看，应该是晚明董其昌以后之作品。(20100710) 内容简介（英文）： This long handscroll depicts roiling clouds and waters with deep, luxuriant valleys and riverbanks that seem to go on forever. Features of the outcrop, ravine, cascade, cliff- and waterside pavilion, and bridge and village scenery have all been fully rendered via the brush tip, but the mountains and trees appear as repetitive forms, making for a slightly static effect. The connected terrain of the central mountain range is similar to the Chinese concept of mountains as dragon veins. Also, the distribution of leaves on either side of the tree trunks is similar to the style of Dong Qichang (1555-1636) but unrelated to the Tang artist Wang Wei. Thus, this is probably an imaginative work in the Wang Wei style from the late Ming dynasty after Dong Qichang.(20100710) 内容简介（英文）： This handscroll was executed with rapid, dry strokes. Each mountain is intricately ornamented. Realistically rendered landscape elements of all types were incorporated into the composition, including rivers and peaks extending for thousands of miles, mountain streams, cascades, springs, pavilions, bridges, and villages. The forms of the mountains and trees appear in repetitive patterns. Although painted with a careful brush, the work is choppy in places, and there is a dearth of movement and contrast. Furthermore, the weakness of the brushwork and the flatness of the surface plane indicate that this painting was in fact the work of a later artist. This painting has traditionally been attributed to Wang Wei, a native of T'ai-yuan, Shansi. His style name was Mo-chieh. Originally famous as a poet, he later gained reknown as a painter and calligrapher as well. He excelled at the cursive and clerical scripts, and his landscapes were particularly excellent. His brushwork was graceful and refined. He incorporated a poetic spirit into his paintings.