书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：宁寿宫鑑藏宝
鑑藏宝玺：乐寿堂鉴藏宝
鑑藏宝玺：古希天子
鑑藏宝玺：寿
鑑藏宝玺：宣统御览之宝
收传印记：天目吴士让图书
收传印记：前坵吴氏家藏
收传印记：王献臣印
收传印记：希代之珍
收传印记：王氏图书子孙永宝之
收传印记：式古堂
收传印记：式古堂书画印
收传印记：令之
收传印记：式古堂书画
收传印记：卞令之鉴定（重一）
收传印记：仙客

题跋资料:

题跋类别：题跋；作者：何权；题跋位置：本幅；款识：何权 茆堂结构背江干。日日爱看江上山。箕踞盘陀吟未稳。不知身在画图间。何权。

题跋类别：题跋；作者：昇杨牖；题跋位置：本幅；款识：昇杨牖 亦有名贤远市朝。萧然环堵住山椒。虚亭未足容清气。据石临流兴自饶。昇杨牖。

题跋类别：题跋；作者：王闲；题跋位置：本幅；款识：王闲 藐石林兮熹微。望佳人兮不归。目眇眇兮愁绝。怅青山兮夕霏。王闲。

题跋类别：题跋；作者：徐克谐；题跋位置：本幅；款识：时洪武丙辰五月既望。太末徐克谐题于邑庠之论堂。 年来深媿窃时名。争似无官去就轻。李渤自甘居少室。谢安应不念苍生。小桥曲径孤村远。茂树青泉一雨晴。何日风流成二老。青鞵布袜遂幽情。时洪武丙辰五月既望。太末徐克谐题于邑庠之论堂。印记：□□之后、徐懋和

题跋类别：题跋；作者：苏伯衡；题跋位置：本幅；款识：眉山苏伯衡 大山合沓横阵云。小山窈窕瓜文分。大山小山谁凿断。回溪中有波沄沄。扁舟长系太古石。略彴遥通何处村。数间茅屋少人住。万壑松风多画闻。临流独坐者谁子。嗒然已似忘昏昕。逍遥时咏池上作。酩酊自倒林下尊。时来好作东山起。麋鹿焉可同其羣。眉山苏伯衡。印记：苏平仲

题跋类别：题跋；作者：刘伯善；题跋位置：本幅；款识：伯善 峯峦兮崭岩。溪谷兮潺湲。乐哉幽居兮。敻隔乎尘寰。吾将抱琴兮。相从乎泉石之间。伯善。印记：金华、安期里生、刘氏伯善

题跋类别：题跋；作者：池裀；题跋位置：本幅；款识：池裀 画工能画山。不识山之真。泉石阿谁曾着身。天机精到若有神。高低远近随所置。心与造化工无二。点布众翻墨浪匀。迅扫尖排笔锋利。翠岚红树满秋山。断崖水落当松关。松下丈人坐不去。似讶此境非人间。君不见李将军。王摩诘。一幅千寻妙难述。崩石惊涛耸观目。潇洒充君眼中物。庐山五老雁荡峯。芒履杖藜何日同。佳境满堂秋色动。山要隐隐来清风。池裀。印记：中□后人

题跋类别：题跋；作者：吕荧；题跋位置：本幅；款识：吕荧 轻绡水墨横秋色。一曲溪山似辋川。柳浪欹湖俱在眼。何时花落醉犹眠。吕荧。印记：吕荧慎明之印

题跋类别：题跋；作者：张彝；题跋位置：本幅；款识：张彝 自西南兮遐观。江漫漫兮峰巑巑。云冥冥兮上复。奚纡回兮中盘。吾不知其为何所兮。抑池阳之羣山。九华崒嵂以前列兮。浮图依约乎崇峦。望谪仙兮不见。觉天宇之空间。青松白日以晦昧兮。碧巘倒浸乎苍湾。石惨惨兮玉润。枫萧萧兮霜殷。路崎岖兮直上。欲南接乎荆蛮。渺夫人兮独处。超逍遥兮盘桓。人间岂不有异境兮。嗟身纡兮青纶。安得羽翼极八表之外兮。驾黄鹄兮徕还。张彝。印记：张秉彝印

题跋类别：题跋；作者：桑以时；题跋位置：本幅；款识：桑以时 曹君手持山水图。墨色黯淡云糢糊。请我试作山水歌。对之神思驰八区。忆昔薄游齐楚间。不见好画常见山。匡庐巫峡千万仞。江水下注声潺潺。泰山三峯倚天碧。徂徕龟蒙皆辟易。上登绝顶俯日月。元气鸿蒙阖且闢。此图恍惚欲相似。更有高阁清江里。何人最得隐者趣。行到水穷望云起。千林高树动寒风。半崖飞瀑走玉虹。轻舟长向古渡泊。小迳自与仙源通。曹君爱画意无极。此画千金未可得。明朝肯作鹿门期。布袜青鞋踏秋色。桑以时。印记：桑以时印

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：癸巳初夏。御题。；书体：行书；全文：秋山真骨露。得骨范宽称。大壑自为敻。崇峰不计层。溪崖观水客。云寺习禅僧。远望弗离坐。诚看缩地能。癸巳初夏。御题。印记：干、隆

主题:

主要主题：山水  ；其他主题：山水山径 ；其他主题：山水溪涧、湍泉 ；其他主题：山水江河、湖海 ；其他主题：山水瀑布 ；其他主题：树木寒林．枯树 ；其他主题：人物高士（士人、隐士） ；其他主题：建筑台阁 ；其他主题：建筑房舍 ；其他主题：建筑桥 ；其他主题：船  

技法:

皴法 

参考资料:

收藏着录： 石渠宝笈续编（宁寿宫），第五册，页2648 收藏着录： 故宫书画录（卷五），第三册，页37-39 收藏着录： 故宫书画图录，第一册，页159-161 参考书目： 1.何传馨，〈宋范宽临流独坐图〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页68-69。2.林莉娜，〈宋范宽临流独坐图〉，收入林莉娜编，《秋景山水画特展图录》（台北：国立故宫博物院，1989年十月初版），页63-65。3.马孟晶，〈范宽临流独坐图〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页63- 65。4.马孟晶，〈延续与变格 — 〈临流独坐〉与范宽风格〉，《故宫文物月刊》，第283期（2006年10月），页14-21。5.朴载硕，《传范宽《临流独坐图》之研究》，国立台湾大学艺术史研究所硕士论文，1993年。6.许文美，〈宋范宽临流独坐图〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页258。 内容简介（中文）： 范宽（活动于西元十世纪末年－十一世纪初），陕西华原人，本名中正，字仲立。因性情宽厚，当时人称之为范宽。画山水师承李成、荆浩，后揉合各家长处，而形成自已的新法。 本幅山形轮廓多方折的线条，皴纹直劲有力，水墨层加渍染，用墨甚浓，有坚实厚重之感。林麓间留白作烟云，与山石成虚实之呼应，凝重中有灵秀之韵。 内容简介（中文）： 本幅具有典型北宋山水主山堂堂居中的雄伟构图，画中并无绘者款印，清代才归于范宽（活动于十世纪后半－十一世纪初）名下。浮突的树根、山顶的密林、粗砺的山石等，都明显承继自〈谿山行旅〉。但被切割的主山缩减了体积与量感，画面充满云烟与山石的虚实对应，人物是独坐岸边、自觉性地观照四周山水的文士，身分和与自然的关系都已与前作不同。画中皴笔从范宽质朴直皴转为侧锋刷染，已有斧劈皴意念，时代或稍晚于李唐。(20061206) 内容简介（英文）： This painting is typical of the monumental landscape manner of the Northern Sung, with its central dominant mountain majestically centered in the composition. Although it does not have the seal or signature of the artist, it was not until the Ch’ing dynasty that the work was ascribed to Fan K'uan. Such features as the “floating” tree roots, dense mountaintop forests, and coarse rocks and mountains all clearly follow in the tradition of Fan K'uan's masterpiece “Travelers Among Mountains and Streams”. However, the truncated form of the main mountain reduces the sense of volume and capacity, the painting surface correspondingly being filled with a contrast of solid and void represented by rock forms and misty clouds. In addition, the figure of the scholar sitting alone by the riverbank consciously observing the landscape around him reveals an identity and relationship with nature that markedly differs from that in “Travelers Among Mountains and Streams”. The texture strokes here also have been transformed from Fan K'uan's simple and direct texturing into wash strokes with a slanted brush, somewhat reminiscent of later “axe-cut” texture strokes developed by Li T'ang, but here done slightly after him.(20061206) 内容简介（英文）： Fan K’uan(style name Chung-li) was a native of Shensi. He first followed Li Ch’eng in landscape painting but also studied the works of Ching Hao. Later, he developed his own style. He was known for his magnanimous and forthright character.This work depicts a massive mountain and deep valley enshrouded with layers of mist. In the trees and rocks, Fan’s brushwork is ruggedly powerful. For the mountain boulders, modeling was lightly added after the outlines were done, giving a great sense of depth and weight. The most outstanding feature lies in the areas of mist represented as blank silk. The void works as a foil against the heavier inked sections, leaving a sense of delicate harmony amidst the ponderous masses. 网页展示说明 本幅无款，清代《式古堂书画汇考》着录为「范宽临流独坐图」。与传世范宽〈谿山行旅〉相较，山顶攒簇密林、山石轮廓墨浓且粗细多变化、树木树根浮突等特点，确近范宽风格。然从山水空间结构及笔墨来看，绘制年代推测为南宋初年。画中人物临流独坐，别于北宋山水画点景人物多为市井小民。学者认为此画山水作为人物居住及观照的对象，反映两宋之际士大夫默坐澄心的人格旨趣。(20110913) 网页展示说明 This painting is unsigned, but Catalogue of Painting and Calligraphy in the Shigu Hall from the Qing dynasty records it as “Fan Kuan’s ‘Sitting Alone by a Stream.’” Compared to Fan Kuan’s surviving masterpiece of “Travelers Among Mountains and Streams,” the features of dense forests clustered on mountaintops, outlines of mountain forms in dark ink varying in thickness, and exposure of tree roots all indeed are in the Fan Kuan style. However, judging from the spatial construct of space and the use of brush and ink, it appears that the date of production is slightly later during the early Southern Song period.In the work is a figure sitting alone by a stream, which differs from other Northern Song landscape paintings dotted with figures who are mostly commoners. Scholars believe that this landscape was an object of idealized dwelling that reflected the goal of purifying the mind by sitting quietly as practiced by scholars of the late Northern and early Southern Song.(20110913)