书体:

色彩:

水墨

装裱形式:

轴

创作时间:

元顺帝至正二十三年（1363）

文字类型:

质地:

本幅纸诗塘纸

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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：古希天子
鑑藏宝玺：太上皇帝
鑑藏宝玺：宣统御览之宝
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
收传印记：如蘅
收传印记：吴璵之印
收传印记：其贞
收传印记：长水李季子泰符私印
收传印记：苍巖
收传印记：蕉林居士
收传印记：令之清玩
收传印记：式古堂书画印
收传印记：仙客
收传印记：卞令之鑑定（长方印）
收传印记：卞令之鑑定（方印）
收传印记：仪周鑑赏

题跋资料:

题跋类别：作者款识；作者：倪瓒；题跋位置：本幅；款识：江上春风积雨晴。隔江春树夕阳明。疎松近水笙声迥。青嶂浮岚（眉字点去）黛色横。秦望山头悲往迹。云门寺里看题名。蹇馀亦欲寻奇胜。舟过钱塘半日程。癸卯（西元一三六三年）二月十七日。赋此诗。并写江岸望山图。奉送惟允友契之会稽。倪瓒。；书体：楷书；全文：

题跋类别：题跋；作者：莫士安；题跋位置：本幅；款识：吴兴莫士安；书体：楷书；全文：潮未生时江正平。江山江树摠分明。吴中越上从教去。都向风波稳处行。吴兴莫士安。印记：是菴、吴兴、吴兴是菴百不居士莫维恭图书

题跋类别：题跋；作者： ；题跋位置：本幅；款识：丹房生；书体：楷书；全文：杳霭钟声隔翠微。清泉白石映斜晖。道人定是知心者。结箇茅亭待我归。丹房生。

题跋类别：题跋；作者： ；题跋位置：本幅；款识：白云山人得完；书体：楷书；全文：江波渺渺树离离。隔岸青山雨后奇。偶向云林画中见。却思京口待潮时。白云山人得完。印记：无隐乎尔、敬修

题跋类别：题跋；作者：清高宗诗塘丙午仲夏月。用瓒自题韵。御题。；书体：行书；全文：御题行书（乾隆丙午御题。诗文不录）印记：古稀天子之宝、犹日孜孜

主题:

主要主题：山水春景 主要主题：山水江河、湖海江河；次要主题：树木寒林．枯树枯树；次要主题：树木松 ；次要主题：树木竹 ；次要主题：建筑亭 ；其他主题：树木  

技法:

写意 皴法折带皴苔点 

参考资料:

收藏着录： 石渠宝笈续编（狮子林），第七册，页4027 收藏着录： 故宫书画录（卷五），第三册，页216-217 收藏着录： 故宫书画图录，第四册，页279-280 参考书目： 1.蒋复璁，〈倪瓒江岸望山图〉，收入国立故宫博物院编，《元四大家》（台北：国立故宫博物院，1975年初版，1976年二版，1984年三版），页52。2.童文娥，〈帝国的回忆　国立故宫博物院瑰宝赴法展专辑二 — 倪瓒江岸望山〉，《故宫文物月刊》，第186期（1998年9月），页34-35。3.陈葆真，〈从陆治的《溪山仙馆》看吴派画家摹仿倪瓒的模式 〉，《国立台湾大学美术史研究集刊》，第1期(1994)，页205-297。 内容简介（中文）： 倪瓒（西元一三0一至一三七四年），字元镇，号云林、迂翁，江苏吴钖人，家富饶，筑清閟阁，蓄古书画，善山水，为元四大家之一。 此画倪瓒六十三岁（西元一三六三年）作。山上长皴，未成折带；远树横点，神似大痴。盖云林本学董源，而又幼于黄公望三十三岁，故不能无影响也。此画本为赠行而作，受画者由水路往会稽，故所画系舟中望两岸之景，受画者为谁，已不可知。上款惟允二字，系画商妄改，借增此画身价。 内容简介（中文）： 倪瓒（1301－1374），江苏无锡人。字元镇，号云林、迂翁。家富饶，筑清閟阁，蓄古书画。善山水，为元四大家之一。此画为倪氏六十三岁之作，笔墨秀逸简淡，山上长皴未成折带；远树横点神似大癡。盖云林本学董源，而又小黄公望三十三岁，故受其影响。此画本为赠行而作，受画者由水路往会稽，故所画系舟中望两岸之景，至于受画者为谁？已不可知。上款惟允二字，系画商妄改，借增此画身价。(20110913) 内容简介（英文）： Ni Zan (style name Yuanzhen; sobriquets Yunlin and Yuweng) was a native of Wuxi in Jiangsu. From a wealthy family, he had the Qingbi Pavilion built to house his collection of ancient painting and calligraphy. He excelled at painting landscapes, becoming known as one of the Four Yuan Masters.This painting was done by Ni Zan at the Chinese age of 63. The use of brush and ink is elegantly untrammeled and simply plain, the long texture strokes of the mountains not angular. The horizontal dots for the distant trees appear much like that of Huang Gongwang’s. In fact, Ni Zan studied the style of their common ancestor in painting, Dong Yuan, and he was 33 years younger than Huang, thus accounting for the influence. This painting was done as a gift, and it’s recipient took a water route to Guiji, hence the rendering of a boating scene between two banks. The identification of the recipient, however, is now unknown. The two characters for “Weiyun” (the renowned Chen Ruyan) in the inscription appear to have been added by a seller of the painting sometime in the past, perhaps to increase its value.(20110913) 内容简介（英文）： Ni Tsan, style name Yüan Chen, sobriquet Yün-lin, was a native of Wu-hsi, Kiangsu. He came from a wealthy family and built the Ch'ing-pi-ko to house his collection of classical paintings and calligraphy. He is considered one of the Four Masters of the Yüan Dynasty. This painting was completed in 1363 when Ni Tsan was sixty-two years old. The mountains are rendered in long, continuous hemp fiber strokes, rather than the abbreviated lines of his later works. The small trees in the middle-ground are textured with horizontal dabs in the manner of Huang Kung-wang. Ni first studied the works of Tung Yüan and was thirty-three years younger than Huang Kung-wang. Therefore, the stylistic influence of these two Masters on the work of Ni Tsan was ineveitable. Whether this work was actually executed for Ni's friend Wei-yün (Ch'en Ju-yen) as the inscription states is open to question. Two characters in the inscription have been erased and the words "Wei-Yün" were witten in their place. 研究性论着： 倪瓒（西元1301－1374年）﹐字元镇﹐号云林﹑迂翁﹐江苏无锡人。家富饶﹐尝筑清閟阁﹐以蓄藏古书画。好学﹐工词翰﹐善书画。好写汀渚遥岑﹐小山竹树等平远景。晚年喜画竹﹐以写胸中逸气。此画为倪瓒六十三岁（1363）作﹐由画上题诗﹐知为赠行而作﹐受赠者由水路去会稽﹐因而画舟中望两岸之景。款上称「并写江岸望山图奉送惟允友契之会稽」﹐惟允为陈汝言之字﹐但「惟允」二字﹐与其他题诗之字比较起来﹐笔蹟不似﹐疑系后人妄改﹐借以增加此画之身价。倪氏早年从董巨入手﹐五十几岁时，山石全用披麻长皴﹔至六十岁则渐入荆关，笔简气壮。晚年则是明显的折带皴法﹐呈现静穆萧疏的风格。本幅画高树空亭﹐隔岸望山﹐山上长皴﹐未成折带﹐利用苔点﹑深浅皴法及留白的运用﹐将山石立体实感呈现而出﹐气势雄壮，与其晚年渴笔皴擦之冷峻坚实的山石较不同。清吴升曾评此画：「皴法全用大披麻﹐得巨然神髓。迂翁画大抵平远山峰﹐不多作树﹔似此高崖峭壁﹐具太华削成之势﹔大小树点叶纷披﹐都非向来面目﹐乃知此翁绘妙中扫空蹊径﹐有如许大手笔也。」（注1）此画曾经由卞永誉﹑梁清标及安岐等鉴藏家所庋藏。（童文娥）注1：吴升﹐《大观录》（四）（台北﹐国立中央图书馆﹐1970）﹐卷十七﹐页2117。