书体:

色彩:

设色,青绿

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢诗塘纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
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：作者款识；作者：仇英；题跋位置：本幅；款识：实父仇英制；书体：楷书；全文： 印记：十洲

题跋类别：题跋；作者：清高宗诗塘乾隆壬戌秋御题；书体：行书；全文：（乾隆壬戌御题。诗文不录。）印记：奉三无私、惟精惟一、乾隆宸翰

主题:

主要主题：山水  主要主题：树木梧桐 ；次要主题：建筑斋馆 ；次要主题：建筑亭茅亭；次要主题：树木竹 ；次要主题：山水溪涧、湍泉 ；次要主题：人物高士（士人、隐士）高士一人；其他主题：花草玉簪花 ；其他主题：器用家俱（屏风）躺椅一、长桌一；其他主题：器用文玩（琴棋书画）书；其他主题：器用文房用具笔筒、毛笔、砚台、水洗；其他主题：花草萱花 ；其他主题：花草百合花 ；其他主题：山水瀑布 

技法:

工笔 双钩 皴法 人物衣纹描法(匀称线条) 苔点 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1879 收藏着录： 故宫书画录（卷五），第三册，页354 收藏着录： 故宫书画图录，第七册，页255-256 内容简介（中文）： 仇英（约西元一四九四－一五五二年），江苏太仓人。此图绘文人在山林草堂读书赏景的幽居生活，树竹等描写工整细致笔法，赋色雅丽。皴笔多顿挫方硬，吸收文派细笔山水的技法，虽非出自仇英之手，当为明画无疑。 一士人摊书于四面平条案上，闭目坐交椅上假寐。椅下部如同胡床，上部靠背板与座面为藤编物，上有一荷叶托首以托住颈部，非常舒适。此椅与《三才图会》醉翁椅相同，扶手延伸较长，前腿间有踏床，是明代流行用具。上海博物馆所藏仇英「梧竹书堂」与此图构图相同。 内容简介（中文）： 仇英，生卒不详，其作品见于正德己巳至嘉靖壬子间（西元一五○九－一五五二年），垂四十馀年。太仓人，字实父，号十洲。画师周臣，为明四大家之一。 临水第轩，一人偃卧椅上，轩外桐梢障天，竹林幂地，幽泉隐咽于丛篁之间，飞瀑长悬于云气之外，盖写夏日景色而自有清凉之韵。仇英画法精丽艳逸，画树亦如山石人物，笔笔周到。 内容简介（英文）： Meditating Under the Shade of the Pirmiana TreeCh’iu Ying (fl.ca. 1490-1552)Ming Dynasty Ch’iu Ying, a native of the Shanghai region, flourished near Soochou. His tzu (style name) was Shih-fu and his hao (sobriquet) was Shih-chou. He was instructed by Chou Ch’en, and although not of literati, he received the adulation of the literati and is considered one of the Four Great Masters of the Ming dynasty. A thatched hut opens to the cool of a flowing stream. A gentleman dozes inside the hut under the shade of a luxuriant firmiana tree, its branches stretching to the sky. Outside thickets of bamboo carpet the ground, the thickets partially enshrouded by the mist of a flying waterfall. Depicting a typical day of summertime leisure, the artist has successfully captured the idyllic mood of such a scene. His trees are painted with care, charm and refinement just as his mountains, rocks, and figures are. 内容简介（英文）： Reading Quietly in the Shade of Pawlonia TreesCh’iu Ying (ca. 1494-1552)Ming Dynasty Chiu Ying was a native of T’ai-ts’ang, Kiangsu. In this painting, a scholar enjoys the quiet, peaceful scenery while taking a break from his studies in a thatched hall in the countryside. The trees and bamboo have been rendered with exceptional detail and the application of color is elegant and refined. The texturing has been done with a stiff and hesitant brush, reflecting the influence of the delicate landscape style associated with Wen Cheng-ming (1470-1559). Although this work is not by Ch’iu Ying, it is a superb example theless. The scholar has placed his books on a table flush on all sides and sits with eyes closed as if at sleep on the foldable chair. The lower part of the chair is like that of a "barbarian seat," while the top has a headrest in the shape of a lotus-leaf to support the neck and make it even more comfortable. This is the so-called "Drunken Man’s Chair" found illustrated in the contemporary Pictorial Encyclopedia of Heaven, Earth, and Man (San-ts’ai t’u hui). The chair is reclinable with armrests and a footrest, and it was popular in the Ming dynasty. Ch’iu Ying’s "Studying in a Hall Among Bamboo and Pawlonia," now in the Shanghai Museum, is similar in composition to this work.