书体:
色彩:
设色,青绿装裱形式:
轴创作时间:
文字类型:
质地:
本幅绢释文:
印记资料:
鑑藏宝玺：嘉庆御览之宝题跋资料:
题跋类别：作者款识；作者：盛懋；题跋位置：本幅；款识：武塘盛懋；书体：楷书；全文： 印记：子昭主题:
主要主题：树木松 ；次要主题：山水云 ；次要主题：山水山径 ；次要主题：山水溪涧、湍泉 ；次要主题：人物高士（士人、隐士） ；次要主题：人物侍从（侍女、童仆）童仆；次要主题：人物行旅 ；其他主题：树木杉 ；其他主题：山水瀑布 ；其他主题：建筑寺庙 ；其他主题：山水 ；其他主题：树木 ；其他主题：建筑台阁 ；其他主题：器用饮食器水壸；其他主题：器用文玩（琴棋书画）古琴；其他主题：器用扇 ；其他主题：器用枴杖技法:
工笔 皴法披麻皴人物衣纹描法(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69 收藏着录： 故宫书画图录，第五册，页57-58 内容简介（中文）： 近景画四松围绕，松阴间三人坐平台上，与松风湍泉为伴，相谈怡然。远处层山两叠，其间一瀑中垂；下方山径穿行，寺院隐约可见。本幅旧传为盛懋（约十四世纪前期）所作。盛懋，字子昭，临安（今杭州）人，画山水宗董巨。今观此轴之用笔与盛懋不类，较近于晚明吴派作风。 内容简介（中文）： 峰峦耸立，山谷间云烟弥漫，近景水岸，岩石垒垒，巨大的松树挺立，平地空处，三位高士席地而坐，另一位高士带着童仆，携琴前来。山径间有人柱杖登高，或挑着担子前行。画中山石以赭石打底，加染石绿，色调沉郁，增加了古朴的风味。旧传为元代山水画家盛懋（约十四世纪前期）之作，不过由树石造型及皴染的方式来看，大约是十七世纪明代后期的作品。 内容简介（英文）： Ridges and peaks rise tall and straight, and the valley here is filled with mist. In the foreground is a waterside bank with piled rocks. Giant pines stand tall against the empty space of the level middleground. Three lofty scholars sit in front as another comes with an attendant carrying a zither. On a mountain path above, a person walks holding a staff, while another lifts his burden to proceed. The landscape forms here were done with ochre ground, to which washes of mineral green were added for a heavier feel and to emphasize the archaic simplicity. This work is traditionally attributed to the Yuan dynasty painter Sheng Mao, but the landscape forms and trees as well as the texturing and washes date it to about the late Ming dynasty in the 17th century.(20100104) 内容简介（英文）： In the foreground of this painting is an enclosure composed of several towering pine trees, in the shade of which sit three figures on a grassy knoll. Accompanied by the sound of the wind soughing through the pines and water gurgling in the stream to the lower right, these gentlemen chat in leisurely refinement. We find two mountain peaks extending into the background with a suspended waterfall between them. In the lower left corner, a path winds up to the enclosure, then under the clouds, and finally up to the hills where a temple structure is partially hidden.This work is traditionally attributed to Sheng Mou (style name Tzu-chao), a native of Lin-an (modern Hangchow). In landscape painting, he followed the style of Tung Yüan (fl. first half of 10th c.) and Chü-jan (fl.10th c.), using an upright brush with great force. The colors of this painting are elegant and pure, and the brushwork soft and refined. The style thus differs from that associated with Sheng Mou and appears closer to the manner of a Wu School painter of the late Ming dynasty (1368-1644).
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