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：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：杨补；题跋位置：本幅；款识：戊子十月致和道院作。古农杨补。；书体：行书；全文： 印记：岩阿桑者、我思老庄、我思古人

主题:

主要主题：山水  ；其他主题：山水溪涧、湍泉 ；其他主题：人物高士（士人、隐士） ；其他主题：树木  ；其他主题：树木寒林．枯树 

技法:

写意 人物衣纹描法(匀称线条) 皴法披麻皴

参考资料:

内容简介（中文）： 杨补，字无补，又字白补，号古农、岩阿桑者。生死时年均不详，明末江西清江人，徙居江苏长洲，终身閒散不仕，为长洲有名布衣。生性孝谨，重然诺。明亡后，隐居于邓尉山。 他的山水画，从作品面目看来，迥然别于当时盛行的「吴派」，而是直接溯源元代黄公望和倪瓒，而且笔墨简淡疎逸，幽情冷致，与清初四大山水画家相较，则又是另一番境界，此或缘于个人品性学养的不同有以使然。 内容简介（英文）： LandscapeYang PuCh’ing Dynasty Yang Pu (tzu Wu-pu and Po-pu, hao Ku-nung and Yen-a-sang-che) lived at the end of the Ming dynasty. He was born in Ch’ing-ch’ang, Kiangsi but lived in Ch’ang-chou, Kiangsu. He lived a life of dissipation and never held an official position but was well-known in Ch’ang-chou. Of an extremely filial and respectful nature, he was always true to his word. After the fall of the Ming dynasty in 1644, he withdrew and lived in seclusion in the mountains. Judging from his surviving paintings, Yang Pu did not paint in the style of the “Wu School” which was dominant in K; angsu during his lifetime. Rather, he made an earnest effort to return to the more pure Yüan dynasty styles of Huang Kung-wang and Ni Tsan. His use of brush and ink was simplified and free, expressing the lofty spirit of his seclusion. His works are more easily compared with those of the “Four Masters of the Early Ch’ing” (Wang Shih-min, Wang Chien, Wang Hui, and Wang Yüan-ch’i), and so he is usually considered a Ch’ing rather than a Ming painter. This innovativeness was perhaps due to his naturally independent nature.