书体:

色彩:

装裱形式:

册(折装‧方幅式)

创作时间:

明穆宗隆庆元年（1567）

文字类型:

质地:

本幅纸前副叶纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：题跋；作者：许初前副叶隆庆己已。吴人许初题。；书体：行楷书；全文：白岳游（篆书）。磬室子在嘉靖丁未为兹游。丙寅乃想像作此。始吴门。道浙江。入睦州。泝歙谿。至白岳而止。图凡十有八纸。隆庆己已。吴人许初题。印记：许氏元复

主题:

技法:

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1958 收藏着录： 故宫书画录（卷六），第四册，页52-54 收藏着录： 故宫书画图录，第二十二册，页342-347 内容简介（中文）： 钱谷（西元一五０八－一五七八年），字叔宝，江苏吴县（今苏州）人。曾游文征明门下，山水、人物、花鸟俱擅长，笔意脱俗，画风文雅。　嘉靖二十六年（一五四七）钱谷从苏州南下，入浙省，沿富春江，经桐庐、淳安，再沿新安江至安徽休宁白岳，二十年后（一五六六），画成这套纪游图册，虽然是想像而成，其中名胜仍可按图索骥，而纪实中又不失雅逸的画风。 内容简介（中文）： 钱谷（1508－1578年），字叔宝，江苏吴县（今苏州）人。曾游文征明门下，工书法，好藏书，又擅画山水、人物、花鸟，笔意脱俗，画风文雅。　嘉靖二十六年（1547）钱谷从苏州南下，入浙江，沿富春江，经桐庐、淳安，再沿新安江至安徽休宁白岳，二十年后（1566），画成这套纪游图册，虽然是追想而成，其中名胜仍可按图索骥。全作笔法灵巧，设色秀润，为一件纪实中又不失雅逸的画册。(20110913) 内容简介（英文）： Qian Gu (style name Shubao), a native of Wuxian in Jiangsu (modern Suzhou), once studied under Wen Zhengming. Good at calligraphy and possessing a fine collection of books, he specialized in painting landscapes, figures, and bird-and-flowers in a refined brush manner and elegant painting style. In 1547, Qian Gu took a trip south from Suzhou and into Zhejiang. Traveling by boat along the Fuchun River, he passed by Tonglu and Chun’an, then proceeding on the Xin’an River to Mt. Baiyue in Anhui. However, it was not until almost twenty years later in 1566 that he did this album of paintings to record the journey. Although based on his recollection, the scenic sites rendered herein can still be traced. Furthermore, the spirited brushwork and elegant coloring throughout this work make it a painting album that is documentary yet not lacking in refined leisure.(20110913) 内容简介（英文）： Ch’ien Ku was a native of what is now Soochow. Having once studied under Wen Cheng-ming, he excelled at painting landscapes, figures, and birds-and-flowers with a refined style. In 1547, Ch’ien Ku traveled south from Soochow in Kiangsu to Chekiang. Traveling by boat on the Fu-ch’un River, he passed by T’ung-lu and Ch’un-an. He then traveled on the Hsin-an River to Mt. Pai-yüeh in Anhwei. However, it was not until 20 years later that he did this album of paintings to commemorate the trip. Although based on memory, the specific sites rendered here are still recognizable. Furthermore, despite the documentary nature of the album, the paintings do not lack the elegant manner of the scholar style.