书体:

色彩:

水墨

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢诗塘绫

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：宁寿宫续入石渠宝笈
鑑藏宝玺：乐寿堂鑑藏宝
鑑藏宝玺：嘉庆御览之宝
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：缉熙殿宝
收传印记：宣文阁宝
收传印记：司印（半印）
收传印记：子子孙孙其永宝用
收传印记：宋权之印
收传印记：钦赐臣权
收传印记：臣荦

题跋资料:

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：辛巳夏孟。御题。；书体：行书；全文：山自堂堂水自弥。村墟缀景不须为。譬如文到昌黎笔。那借纤奇藻缋施。辛巳夏孟。御题。印记：得象外意、乾隆宸翰

题跋类别：题跋；作者：朱彝尊诗塘秀水朱彝尊题 巨然溪山林薮图。（八分书）。此图为宣和收藏上品。见画谱。高宗识以缉熙殿宝。元顺帝识以宣文阁宝。明代藏质慎库。世祖章皇帝以赐商丘相国宋文康公。后失而复得。公子漫堂中丞。宝之不啻鲁敦周彝。与董北苑万木奇峰图同贮一匣。偶一展阅。如岱华矗空。江河行地。真天壤间大观也。秀水朱彝尊题。印记：朱彝尊印、竹垞

主题:

主要主题：山水  ；次要主题：山水江河、湖海 ；其他主题：树木  

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2652 收藏着录： 故宫书画录（卷五），第三册，页24-25 收藏着录： 故宫书画图录，第一册，页95 参考书目： 1.傅申，〈巨然存世画蹟之比较研究〉，《故宫季刊》，第二第二期（1967年十月)，51-79。2.石慢，李慧淑译，〈江参及十二世纪山水画之在评介 — 「千里江山图」及「溪山林薮图」〉，《故宫学术季刊》，第三卷第一期（1985年秋），页83-100。 内容简介（中文）： 本幅画群山溪壑，林树弥望，山石皴纹多以湿笔染破，明晦隐现，轮廓模糊，特饶山野烟霭之致。本幅无作者款印，依据旧籤，定为巨然之作，然笔墨则与江参（活动于西元十二世纪初）较为近似。巨然（十世纪），南唐锺陵人，为开元寺僧。南唐亡（九七五年），随李后主煜降宋，至汴梁。工画山水，师事董源。善状烟岚景象，臻于妙境，与师齐名，并称董巨。 内容简介（英文）： In this work of lush woods and hills, streams winding through ravines stretch into the distance. Texture strokes for the hills were done with moist washes and strokes so that light and shadow merge. Outlines also appear vague, especially where the mists swirl around the mountains. This work bears no signature or seal of the artist but was attributed to Chü-jan. The use of the brush and ink, however, is closer to that of Chiang Shen (fl. early 12th c.). Chü-jan was a monk at the K'ai-yüan Temple. With the fall of the Southern T'ang in 975, he submitted to the Sung. He specialized in landscapes, studying under Tung Yüan. He excelled at visions of grandeur and mist. Achieving as much fame as his teacher, they became known as "Tung and Chü". 网页展示说明 本幅画群山溪壑，林树弥望，山石皴纹多以湿笔染破，明晦隐现，轮廓模糊，特饶山野烟霭之致。本幅无作者款印，依据旧籤，定为巨然之作，然笔墨则与江参（活动于西元十二世纪初）较为近似。巨然（十世纪），南唐锺陵人，为开元寺僧。南唐亡（九七五年），随李后主煜降宋，至汴梁。工画山水，师事董源。善状烟岚景象，臻于妙境，与师齐名，并称董巨。(20120102) 网页展示说明 This work depicts clustered peaks with forest-filled streams and valleys. The texture-stroked hills feature wet brushwork to create broken washes that suggest brightness here and there. Vague outlines with much mist and haze fill the scenery. This work has no seal or signature of the artist, the old label ascribing it to Juran. The brush and ink, though, appear closer to the style of Jiang Shen (fl. early 12th c.).Juran, a native of Zhongling, was a monk at Kaiyuan Temple. When his state fell in 975, he followed its leader Li Houzhu (Yu) in surrendering to the Song, moving to the Song capital of Bianliang. Juran, good at painting landscapes and studying under Dong Yuan, excelled at visions of grandeur and mist. As famous as his teacher, they were known together as "Dong-Ju." (20120102) 网页展示说明 本幅画群山溪壑，林树弥望，山石皴纹多以湿笔染破，明晦隐现，轮廓模糊，特饶山野烟霭之致。本幅无作者款印，依据旧籤，定为巨然之作，然笔墨则与江参（活动于西元十二世纪初）较为近似。巨然（10世纪）、南唐锺陵の人、开元寺僧侣。南唐灭亡后（975年）、李后主（李煜）に随い、宋が灭びると卞京に移った。山水画を善くし、董源に师事した。云雾の立ち込める风景画を得意とした。その画技は妙境に达し、师とともに「董巨」と并び称された。(20120102)