书体:
色彩:
设色装裱形式:
卷创作时间:
文字类型:
汉文质地:
本幅绫引首纸隔水一绫隔水二绫拖尾纸释文:
印记资料:
收传印记：李国松藏题跋资料:
题跋类别：作者款识；作者：黄慎；题跋位置：本幅；款识：乾隆五年四月写。宁化黄慎。；书体：草书；全文：外看杨柳障鱼汀。内必桃花闭武陵。曝网张鱼等閒事。且登岸上逐花行。君去新过五月时。都门日近火云移。赠君数叶迎风物。并入高帆一道吹。送客之燕上马时。图花满册各成诗。河桥杨柳如教见。应喜相饶赠万枝。去后重来访碧山。当时曾比狎云鬟。但看流水依然绿。要见桃花如此难。凡心勿悔出天台。一见桃花一度回。若使仙人知此意。还教流水引郎来。高髻阿那长袖垂。玉钗彷彿拂罗衣。折得花枝向宝镜。比妾颜色谁光辉。早起春晴香雾肥。独依殊月出墙围。洛滨仙子波心立。虢国夫人马上归。轻风吹雾散朱门。影落冯谁写素魂。万里晓天微有晕。终宵明月欲无痕。乾隆五年四月写。宁化黄慎。印记：读书声里是吾家、黄慎、恭寿主题:
主要主题：山水 主要主题：山水江河、湖海 ；其他主题：花草桃花 ；其他主题：树木杨柳 ；其他主题：船篷舟 ；其他主题：建筑桥 ；其他主题：建筑台阁 ；其他主题：人物高士（士人、隐士） ；其他主题：人物渔夫、船夫船夫；其他主题：器用桨、篙技法:
写意 皴法 苔点参考资料:
收藏着录： 李石曾先生遗赠书画目录，页30-31、114-115 参考书目： 1.王耀庭，〈清黄慎设色山水〉，收入王耀庭编，《渊明逸致特展图录》（台北：国立故宫博物院，1988年初版），页105-106。 内容简介（中文）： 黄慎（一六八七－一七六八年后），号瘿瓢，福建宁化人。幼因家贫无以为生，遂学画。其艺既精，即赴扬州鬻画，因笔墨豪放不羁，终能成为扬州画派的翘楚。 本幅为李石曾先生捐赠。画桃柳夹岸，高士泛舟。画意虽非直接取自陶渊明（三六五－四二七）的诗作，然题识中多处引用陶诗典故，又以红桃绿柳为景，颇有世外桃源之妙。画树线条盘曲飞动，笔法纵逸，与纠结的草书款识互相辉映，并称佳妙。(20100103) 内容简介（中文）： 黄慎（西元一六八七－一七六八年后），福建宁化人，字躬懋、恭懋、恭寿，号瘿瓢。幼贫，遂放弃科举，从上官周学画，后赴扬州鬻画，为扬州画派之佼佼者。 本幅画红桃、绿柳、拱桥、人家，高士乘舟穿流而来，小屋已有人候客。桃柳为景，常会联想及陶渊明。本幅虽非以陶之诗文为特定题材，然作者题款，已有多处引用陶诗典故。画中景亦颇富世外桃源意境。黄慎作画，线条喜盘曲飞动，极富奔驰之意，幅中巖石皴法即是。 内容简介（中文）： 黄慎（西元一六八七－一七六八年后），福建宁化人。字躬懋、恭寿，号瘿瓢。家贫无以为生，遂学画。其艺既擅，后赴扬州鬻画，为扬州画派之翘楚。 桃柳夹岸，高士乘舟而来，悠然自得。本幅虽非依据陶渊明诗文而作，然作者题识多处引用陶诗典故，又以桃柳为景，颇有世外桃源之意。本幅柳干线条盘曲飞动，笔法纵逸，与纠结的草书款识互相辉映，并臻佳妙。本幅为李石曾先生捐赠。 内容简介（英文）： Huang Shen, a native of Fukien province, was born into a poor family and took up painting in-stead of pursuing a civil service career. He moved to Yangchow to sell his works and became known as one of Eight Eccentrics of Yangchow. A scholar in a small skiff is being transported leisurely along a stream bank lined with peach and willow trees. Though this work does not follow the poetry of T’ao Yüan-ming, the artist has made several references to T’ao, and the peach and willow are also intimately associated with T’ao. Huang Shen painted the willow trunks with twisting and spirited lines. The untrammeled brushwork complements the unique cursive inscription. This was donated to the Museum by Mr. Li Shih-tseng. 内容简介（英文）： A small boat bearing a certain gentleman as a passenger glides forward beneath green willows; in the distance to the left of the small arched bridge and grove of blossoming peach trees is a cottage, where someone sits, awaiting a guest. Willows and peach trees are often associated with T’ao Yüan-ming, the author of the poems Master Five Willows and The Peach Blossom Spring, and in fact this scene recalls the otherworldly atmosphere of the Spring. The painting, however, is not directly modeled on this poet’s life or writings, but the artist’s colophon does refer to T’ao in several places. In terms of brushwork, Huang Shen paints with delightfully twisting lines that seem to move at great speed. This is noticeable even the handling of the texture strokes that define the rocky bank of the stream. Huang Shen, a native of Ning-hua, Fukien, was born into a poor family and so abandoned any attempt at the civil service exams, which were the usual road to fortune and fame. He studied painting with Shang-kuan Chou (b. 1665). Moving to Yangchow to better sell his paintings, he soon became one of the leading lights of the city’s art world. 内容简介（英文）： Huang Shen (style name Yingpiao), native to Ninghua, Fujian, was born to a poor family and pursued painting as a career. After his renown in art rose, he moved to Yangzhou to sell paintings. He stood out among members of the Yangzhou School for his wild, unbridled brushwork. In this work donated to the Museum by Mr. Li Shizeng, a scholar in a skiff is being transported leisurely along a stream lined with peach and willow trees. Though it does not follow the poetry of Tao Yuanming (365-427), the artist made several allusions to Tao’s verse, and the peach and willow here remind one of Tao’s Peach Blossom Spring. Huang painted the trees with twisting, spirited lines, as the untrammeled brushwork complements the unique cursive inscription.(20100103)
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