《山水图》扇页，清，邹喆绘，金笺，设色，纵16.6cm，横51.9cm。

　　扇页有自题：“庚子春月写似子玄词宗。石城邹喆。”钤 “邹喆”、“方鲁”白文印二方。“庚子”是清顺治十七年（1660年）。

　　邹喆作为民间的职业画家，与金陵画派的龚贤、樊圻、叶欣等人有许多共同之处，并称“金陵八家”。他们在艺术上承袭古人的传统，但是反对泥古不化，反对把山水画艺术降低为单纯的皴擦点染的笔墨技术。他们主张在继承传统的基础上，师法自然造化，所以常用画笔表现身边的山形地貌。

　　此作即是以俯瞰式的构图，绘南京万木峥嵘的春天景致。作品布局平稳开阔，颇具气势；用笔尖劲，工写结合，墨与色富于浓淡变化，是邹氏的精心之作。

 

--------Introduction in English--------

 

Landscape Map" Fan Page, Qing, Zou Chao Painting, Gold Paper, Colour Setting, 16.6 cm in length and 51.9 cm in transverse.

The fan page has its own title: "Gengzi Spring Moon is like Zixuanci Zong. Zou Chao, Shicheng." Bian "Zou Chao" and "Fang Lu" printed in white. "Gengzi" was the seventeenth year of Shunzhi in Qing Dynasty (1660).

Zou Tao, as a folk professional painter, has much in common with Gong Xian, Fan Bian and Ye Xin of Jinling School of Painting, and is also known as the "Eight Schools of Jinling". They inherited the tradition of the ancients in art, but opposed to the mud of the ancients, opposed to reducing the art of landscape painting to a pure brush and ink technology. They advocated that on the basis of inheriting the tradition, they should learn from nature, so they often use brushes to show the mountain topography around them.

This is an overlooking composition of the spring scenery of Wanmurong in Nanjing. The layout of the work is smooth and open, with great momentum; it is Zou's meticulous work that combines vigorous pen tips with handwriting, rich in changes in ink and color.