【作品基本信息】
| 作者 | 胡远 |
| 品名 | 山水图轴 |
| 朝代 | 清代 |
| 文件大小 | 18.0MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 1343×4468 |
| 尺寸（CM） | 11.37×37.82 |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 绘画 |
| 品名 |
清胡远山水 轴 Landscape |
| 分类 | 绘画 |
| 作者 | 胡远 |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 126.6×37.9 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 纸 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 作者款识 | 胡远 | 本幅 | 胡公寿 | 草书 | |
|
印记： 横云 |
|||||
| 题跋 | 刘古香 | 本幅 | 壬子（公元一九一二年）仲秋刘古香 | 行书 | 近水远峰山势奇。𥡄林枫落异幽姿。为诗为画开生面。不入时妆不入时。何事悲歌击唾壶。衔杯且自唱乌乌。休惊祖逖鞭先着。惟向张仪舌在无。壬子（公元一九一二年）仲秋刘古香。 |
|
印记： 古香、但求无愧我心 |
|||||
印记资料
| 【印记类别】 | 【印记】 |
| 收传印记 | 学正堂 |
| 收传印记 | 南阳伯子其镳 |
| 收传印记 | 邓子俊书画印 |
| 收传印记 | 曾经沧海 |
| 收传印记 | 龙景钰印 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 主要主题 | 山水 | ||
| 其他主题 | 山水 | 溪涧、湍泉 | |
| 其他主题 | 树木 | 枫树．槭树 | |
| 其他主题 | 建筑 | 水榭 | |
| 其他主题 | 人物 | 高士（士人、隐士） | |
| 其他主题 | 建筑 | 房舍 |
技法
| 【技法】 | 【技法细目】 |
| 写意 | |
| 皴法 | |
| 苔点 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 何应钦将军遗赠书画展图录，页26、101 |
| 内容简介（中文） |
胡远（公元一八二三－一八八六年），华亭（今上海松江人）。字公寿，号瘐鹤，又号横云山民。能诗，善书画，书法颜真卿。画笔秀雅绝伦，以湿笔取胜。山水花木无所不能，尤喜画梅。着有﹝寄鹤轩诗草﹞等书。 浅设色画秋林枫落，曲涧流泻于两石之间，茅屋依岩而筑，一高士坐于斋中。山石、树干缀以苔点，用墨浓重而层次分明，远山淡墨晕染，呈现一种朦胧之气氛，用以衬托萧瑟的秋景。 本幅为何应钦先生捐赠。 |
| 内容简介（英文） |
Hu Yuan (style name Kung-shou; sobriquets Yu-ho and Heng-yun shan-min) was a native of Hua-t’ing (modern Sung-chiang, Shanghai). He was capable of poetry and skilled at painting and calligraphy, and he was particularly fond of painting plum blossoms. Light colors have been applied to depict this autumn forest with withering maples. Water flows down between two rocks, a thatched hut is built against a rock, and a scholar sits inside a studio. The mountain rocks and tree trunks are all dotted with moss. The ink is dense and heavy and the differently applied layers are distinct. The distant mountain has been executed in light ink and misty wash, presenting a dim and lazy atmosphere. This effect heightens the feeling of the desolate autumn scene. This painting was donated to the Museum by Mr. Ho Ying-ch’in. |
| 内容简介（英文） |
Hu Yuan (style name Kung-shou; sobriquets Yu-ho and Heng-yun shan-min) was a native of Hua-t’ing (modern Sung-chiang, Shanghai). He was capable of poetry and skilled at painting and calligraphy, and he wrote in the style of Yen Chen-ch’ing (708-784). His moist brushwork was elegant and unparalleled. Though he was particularly fond of painting plum blossoms. Light colors have been applied to depict this autumn forest with withering maples. Water flows down between two rocks, a thatched hut is built against a rock, and a scholar sits inside a studio. The mountain rocks and tree trunks are all dotted with moss. The ink is dense and heavy and the differently applied layers are distinct. The distant mountain has been executed in light ink and misty wash, presenting a dim and hazy atmosphere. This effect heightens the feeling of the desolate autumn scene. This painting was donated to the Museum by Mr. Ho Ying-ch’in. |
【作品展示】
__清.胡远山水轴.清.胡远山水轴赠画__AANPAA
