书体:

色彩:

青绿

装裱形式:

轴

创作时间:

明神宗万历十一年（1583）

文字类型:

质地:

本幅纸

释文:

印记资料:

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：丁云鹏；题跋位置：本幅；款识：万历癸未（西元一五八三年）冬十二月。南羽居士丁云鹏。；书体：篆书；全文： 印记：云鹏印、南羽居士

主题:

主要主题：山水  主要主题：建筑亭 ；次要主题：建筑桥 ；次要主题：建筑栏杆 ；次要主题：人物侍从（侍女、童仆）童仆五人；次要主题：人物高士（士人、隐士）士人九人；次要主题：山水溪涧、湍泉 ；次要主题：树木松 ；次要主题：器用文玩（琴棋书画）琴、书；次要主题：器用花器瓶；其他主题：山水山径 ；其他主题：山水江河、湖海 ；其他主题：山水云 ；其他主题：树木  ；其他主题：树木竹 ；其他主题：器用香炉．火盆香炉；其他主题：器用家俱（屏风）屏风、桌子

技法:

工笔 界画 皴法 人物衣纹描法(粗细线条) 苔点 

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页86 收藏着录： 故宫书画图录，第八册，页321-322 参考书目： 1.王耀庭，〈明丁云鹏仙山楼阁〉，收入王耀庭编，《青绿山水画特展图录》（台北：国立故宫博物院，1995年七月初版一刷），页92。2.〈明丁云鹏仙山楼阁〉，收入国立故宫博物院编，《晚明变形主义画家作品展》（台北：国立故宫博物院，1977年九月初版），页72。3.李玉珉；〈心印毫生—丁云鹏绘画展〉，《故宫文物月刊》，第352期（2012年7月份），页90-105。 内容简介（中文）： 本幅画山石层叠堆砌，既惊且险，山路逶迤而上，殿阁亭宇错落其间，文士或持杖而行，或观瀑听松。此作的建筑以界画为之，结构精严；山石用墨线钩勒，圭稜毕露；松针与苔点则以细劲中锋画成，富有层次。全作用笔精到，青绿敷染，明丽秀艳却不失儒雅之气。其狭长的条幅、堆叠的构图和温雅的设色，皆似文派作风。 幅上篆书款云：「万历癸未（1583）冬十二月，南羽居士丁云鹏。」丁氏时年三十七岁。(20120715) 内容简介（中文）： 丁云鹏（西元一五四七－一六二八年尚在），字南羽，号圣华居士，安徽休宁人。善道释人物，白描酷似李公麟，于山水写生亦无不精妙，构图精细，类似「文派」的青绿山水作风。 此幅树石造型、笔法、设色均有创意且富变化。松针细劲，树干瘿节露白，突出而明显。山石堆砌而上，悬立半空中，既惊且险；顶峰用浅青绿淡染，山后染天，烘托之下山石格外光亮。 内容简介（英文）： Ting Yün-p'eng, a native of Anhwei province, excelled at painting Buddhist and Taoist figures. His landscapes are known for the fine compositions in the "Wen School" of blue-green landscapes. This painting depicts pavilions in mountains that look like the residence of immortals. The mountain forms, brushwork, and colors are varied and quite unique. The pine needles are also done with spirit and in detail. The knots of the trees were outlined in white, causing them to appear as if protruding. The massed mountains and rocks seem to be suspended in mid-air, making them look quite perilous. The highest peaks and the sky were painted in light green washes. In contrast, the mountains and rocks exude a radiant luminosity. 内容简介（英文）： This work depicts mountains piled one atop another to create a perilous and precipitous landscape that includes a path winding upwards. Pavilions are scattered throughout as scholars walk with a staff or view the waterfall listening to wind in the pines. The architecture done in the “ruled-line” method features refined and precise structures. The mountains were outlined with ink to form ridges that stand out and the pine needles and moss dots done in fine yet strong strokes with a centered brush rich in ink gradations. The delicate brushwork is further complemented by washes of blue and green, their bright beauty not lacking in elegance. The narrow scroll, piled composition, and warm hues are all similar to features of Wen School painting.The seal script signature in the upper left reads, “The twelfth month in winter of the Wanli ‘guiwei’ year (1583). Nanyu jushi, Ding Yunpeng.” The painting was thus done by Ding at the Chinese age of 37.(20120715)