书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

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：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
收传印记：天籁阁
收传印记：退密
收传印记：项墨林鑑赏章
收传印记：子孙世昌
收传印记：檇李项氏士家宝玩
收传印记：项元汴印
收传印记：项子京家珍藏
收传印记：项墨林父祕笈之印

题跋资料:

题跋类别：作者款识；作者：仇英；题跋位置：本幅；款识：十洲仇英画；书体：行书；全文： 印记：十洲

主题:

主要主题：树木梧桐 主要主题：人物高士（士人、隐士）士人２人主要主题：山水奇石 ；次要主题：山水秋景 ；次要主题：山水溪涧、湍泉 ；次要主题：人物侍从（侍女、童仆）童仆１人；其他主题：树木竹 

技法:

写意 双钩 皴法斧劈皴人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 石渠宝笈三编（御书房），第七册，页3105 收藏着录： 故宫书画录（卷五），第三册，页359-360 收藏着录： 故宫书画图录，第七册，页271-272 参考书目： 1.许郭璜，〈明仇英桐阴清话〉，收入许郭璜编，《仇英作品展图录》（台北：国立故宫博物院，1989年初版），页95。2.刘芳如，〈明仇英桐阴清话〉，收入国立故宫博物院编辑委员会编，《明中叶人物画四家特展－杜菫、周臣、唐寅、仇英》（台北：国立故宫博物院，2000年初版），页171。 内容简介（中文）： 仇英（约一四九四－一五五二），居苏州。曾为漆工，后以画艺闻名。从周臣学画，擅长山水、仕女、人物。又长于临摹古人作品，几可乱真。为明四大家之一。 幅中画溪流之间，梧桐树下，两人执手相谈，表达文人生活雅趣。画山石笔势潇洒纵逸，墨调对比较强。画人物也是笔法快速，挺拔劲健，但不失温雅。本幅与院藏「蕉阴结夏」可能原为同套四屏之一，是应项元汴所请而作，为装饰厅堂之用。 内容简介（中文）： 本幅画石峰嶙嶙，梧桐垂荫。树下两人拱立清谈，一童悄然侍立。前景另绘丛篠沿坡，野水奔流。此等景境，纵或出自画家揣想，然而人语溪声，竟恍若身历其境。巖岩画法，明显受到周臣「宁戚饭牛图」的直接影响。不过仇英此作较周臣略为谨慎，虽然线条挺拔劲健，强调笔墨的速度美感，但皴法则尽量包藏在轮廓之内，并且让巖石表面布满肌理与明暗变化，不失却形象的精准掌握。 内容简介（英文）： Pure Conversation in the Shade of Firmiana Ch’iu Ying (ca. 1494-1552) Ming Dynasty This work shows a tall rocky precipice to the right with firmiana trees shading two scholars standing underneath. Engaged in conversation, a child attendant stands to the side. In front is a rock with a stream rushing by and clumps of reeds and grass. This scene was conjured up by the artist to allow the viewer to feel as if actually there listening to them and the stream. The rendering of the rocks clearly reflects the influence of Chou Ch’en’s Ning Ch’i Feeding an Ox. Here, however, Ch’iu’s style is somewhat finer. Though the lines are forceful, emphasizing the beauty of quick brushwork, texture strokes still outline and fill the surface with force. Light and dark washes preserve the accuracy of the forms. 内容简介（英文）： Pure Conversation Under Firmiana Trees Ch’iu Ying (ca. 1494-1552) Ming Dynasty Ch’iu Ying, a resident of Soochow, originally was a lacquer artisan but later became a famous painter excelling at landscapes, ladies, and figures. He was also skilled at copying ancient works, becoming one of the Four Great Masters of the Ming. By a mountain stream and under firmiana trees, 2 gentlemen stand and converse with hands clasped in this depiction of a custom among refined scholars. The brushwork for the towering rocks is powerful yet fluid while the contrast in ink tones appears quite sharp. The brushwork of the figures is quick and striking yet still refined. Along with the Museum’s Whiling Away Summer in the Shade of Plantains, this may have been one of a set of 4 commissioned by Hsiang Yüan-pien for a large hall.