《幽居图》卷，元，钱选作，纸本，设色，纵27cm, 横115.9cm。
此图是钱选所绘的青绿山水画作之一。图中湖光山色静谧幽淡，展卷之始见三五秀石零落坡边岸角，青松虬曲其上，村居掩映树石之间，一叶小艇驶向水平如镜的湖中，对岸碧峰起伏，参差错落，楼阁为茂林所环抱，茅舍隐现丛树兀石之后，幽居之景、之境、之情、之趣毕现于纸上。其画山石树木皆用方折的线条勾出轮廓，不作皴法，敷以青、绿、赭等色，山脚处略施金粉，于严整工致中见古拙秀逸之气。图的右上方自题“幽居图”三字，其中“幽”字残缺严重，形近“山”字，故亦被称作“山居图”。本幅及前后隔水有“怡亲王宝”等印共29方，尾纸上有纪仪、纪堂、高士奇、邵松年等人的题跋。
钱选的山水画以青绿设色为主，近师南宋赵伯驹，远溯杨隋展子虔、李昭道，运笔有生拙之趣，设色明快不失艳丽，布局张弛得度，疏密有致，自成风貌。我院另藏《山居图》一卷，虽与《幽居图》构图相异，但笔法、设色同出一源，两者堪为“双璧”。《浮玉山居图》卷（藏上海博物馆）则是钱选以水墨为主的代表作，卷中山石的阴阳向背用墨笔勾皴来表现，花青淡施丛树小草之上，清逸秀润之气溢出卷外，别具一格，与其青绿山水有异曲同工之妙。
论成就，钱选跳出两宋院体的窠臼，追求晋唐作风，在元初画坛独树一帜，对开创一代画风起了积极的作用。然而，由于赵孟頫与“元四家”的山水画更符合文人重笔墨、尚意趣的审美观念，和他们相比，钱选对后世的影响便略逊一筹了。
--------Introduction in English--------
"Secret Residence Map" Volume, Yuan, Qian Choose, Paper, Colour Settings, 27 cm in length, 115.9 cm in horizontal.
This picture is one of Qian Xuan's green landscape paintings. In the picture, the lake is quiet and quiet. At the beginning of the exhibition, there are three or five beautiful stones scattered on the bank and corner of the slope. The green pine squirms crooked on them. The village dwells between the trees and rocks. A boat sails toward the lake with the level of mirror. The other side of the lake, the green peaks rise and fall unevenly. The pavilions are surrounded by the Mao forests. After the cottages are hidden in the woods and rocks, the scenery, situation, feeling and fun of living in seclusion end appear on the paper. Their paintings of rocks and trees are outlined with square folded lines, without chafing. They are applied with green, green, ochre and other colors. The foot of the mountain is slightly golden powder, which shows the ancient and elegant atmosphere in the rigorous work. On the upper right of the picture is the self-titled "seclusion map", in which the word "seclusion" is seriously incomplete and close to the word "mountain", so it is also called "mountain residence map". There are 29 princes such as "Prince Yi Bao" in this picture and water proof around it. There are inscriptions and postscripts of Jiyi, Jitang, Gao Shiqi and Shao Songnian on the end paper.
Qian Xuan's landscape paintings are mainly green and blue. Zhao Boju, a close teacher of Southern Song Dynasty, traces back to Zhanzipian and Li Zhaodao in YangSui Dynasty. His brushwork is lively and graceful. His colors are bright and beautiful, and his layout is relaxed, sparse and compact. Although the composition of Shanju Tu is different from that of Yaju Tu, the brushwork and color design of Shanju Tu are of the same origin, which can be regarded as "Shuangbi". The volume of Fuyushan Jutu (Tibetan Shanghai Museum) is Qian Xuan's masterpiece, which is mainly composed of ink and wash. The Yin and Yang of Zhongshan Stone in volume are shown with ink on the back. The flowers are lightly covered with bushes and grass, and the air of elegance and moisturity spills out of the volume. It has a unique style, which is different from the green mountains and waters.
On achievements, Qian Xuan jumped out of the stereotype of the courtyard of Song Dynasty and pursued the style of Jin and Tang Dynasty, which was unique in the early Yuan Dynasty and played a positive role in creating a new generation of painting style. However, because Zhao Mengfu and the "Four Families of the Yuan Dynasty" landscape paintings are more in line with the literati's aesthetic concept of heavy brush and ink and interest, compared with them, Qian Xuan's influence on future generations is slightly inferior.
