书体:

色彩:

设色

装裱形式:

卷

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：重华宫鑑藏宝
鑑藏宝玺：古希天子
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：钱选；题跋位置：本幅；款识：吴兴钱选作；书体：行楷书；全文： 印记：舜举

题跋类别：题跋；作者： ；题跋位置：本幅；款识：无；；书体：行楷书；全文：时苗留犊。

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：己酉仲夏上澣御题；书体：行书；全文：（乾隆己酉1789御题。文不录。）印记：古稀天子之宝、犹日孜孜

主题:

主要主题：人物官员（臣）臣主要主题：人物仕女 主要主题：人物孩童 主要主题：人物百姓 主要主题：走兽牛 主要主题：车兽力车 主要主题：经史‧故事 时苗留犊；其他主题：佛道人物僧（和尚、尼姑）和尚；其他主题：器用饮食器盘；其他主题：器用香炉．火盆香炉；其他主题：器用伞 ；其他主题：器用挑担 

技法:

工笔 界画 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈续编（重华宫），第三册，页1540 收藏着录： 故宫书画录（卷八）第四册 ，页36 收藏着录： 故宫书画图录，第十六册，页399-400 内容简介（中文）： 钱选(西元1239-1301)字舜举，号玉潭，宋景定间进士，擅画人物、花鸟、山水。元朝初年，吴兴有八名才俊，其中钱选与赵孟頫最为有名。画中主人士三国时魏淮阴县令时苗，辞别当地父老，留下一犊的廉洁故事。这张画构图大致宇同时展出的赵孟頫留犊图一样。可见这个故事颇为流行。 内容简介（中文）： 东汉建安年间（一九六－二一九），时苗任寿春（今安徽寿县）县令。他为官清廉，到任时只以一母牛拉车而至，在任一年多，母年产下小牛，时苗去职时，只带走原来的一车一牛，不肯带走在当地出生的小牛，民众不忍见他离去，前来夹道相送。本卷所绘即民众送行的情景。钱选（活动于十三世纪后半）是宋末元初的遗民画家，善山水、花鸟，画风古雅。此幅约为十七世纪托名之作。 内容简介（英文）： In the Chien-an era (196-219) of the Eastern Han, Shih Miao was county magistrate of Shou-ch'un (modern Shou County, Anhwei). An honest and upright official, when he assumed post, he arrived by means of only an ox-pulled cart. In his service of more than a year, the ox gave birth to a calf. When he left office, however, he only took with him the original ox and cart, leaving behind the calf as belonging to the residents there. The people were so moved that they crowded the road to see him off. This is a description of that scene.　Ch'ien Hsüan was a "left-over (i-min)" painter of the Sung dynasty who lived into the Yüan. He excelled at painting landscapes and birds-and-flowers, his style being elegantly archaic. This work was probably done in the 17th century with a spurious signature of Ch'ien added to it. 内容简介（英文）： Ch'ien Hsuan was skilled in painting figure, flower-and-bird, and landscape. At the beginning of the Yuan dynasty there were eight men in Wu-hsing known for their exceptional talent; of them, Ch'ien Hsuan and Chao Meng-fu are the most famous. The main subject of this painting is Shih Miao, the magistrate of Huai-yin in Wei during the Three Kingdoms Period (220-265). When it came time to leave his post and bid farewell to the elders of the town he insisted on leaving behind the calf that was born to his cow during his tenure in office. The story illustrates Shih Miao's impeccable righteousness. The composition of this painting is similar to that of the same subject by Chao Meng-fu. The story of Shih Miao must have been popular at this time.