《夏日山居图》轴，元，王蒙绘，纸本，墨笔，纵118.4cm，横36.5cm。

　　本幅自识：“夏日山居。戊申二月黄鹤山人王叔明为同玄高士画于青村陶氏之嘉树轩。”戊申为元至正二十八年（1368年）。另有清乾隆帝诗题并钤印及清安岐、乾隆内府等鉴藏印共17方。

　　此图绘长松高岭，山坞人家。半敞的房舍中一位怀抱婴儿的妇女似正在来回踱步，哄儿入睡，极富生活情趣。王蒙的作品虽多描写高士隐居生活，但其中往往蕴含俗世的生活情趣，这在某种程度上可以说是画家入世情结的一种流露。

　　画中山体施以细密而短促的牛毛皴，凸处和边缘处笔少而墨淡，凹处及深暗处则笔多而墨浓，借以表现出山峦的层次和体积感。松树以淡墨勾形，偶尔施以重墨，树身以干笔圈皴，松针先以淡墨写出，复施以浓重的焦墨，使之层次分明，愈显清峭挺拔之势。山间丛树用焦墨侧锋点染而成，与山体皴染融为一体，相辅相成，更增夏日青山浑厚华滋的质感。

　　《石渠宝笈续编·淳化轩》、《大观录》卷十七、《图画精意识》卷十二、《墨缘汇观》卷五、《式古堂书画汇考》卷二十著录。

 

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

 

"Summer Mountain Residence Picture" axis, Yuan, Wang Meng Picture, paper, ink, 118.4 cm vertical, 36.5 cm horizontal.

This piece of self-knowledge: "Summer mountain dwelling. In February of Wushen, Wang Shuming, a native of Huanghe Mountain, painted in Jiashuxuan of Tao's family in Qingcun for Tongxuan Gaoshi. Wushen was from the Yuan Dynasty to the eighth year of Zhengzheng (1368). In addition, there were 17 inscriptions of Emperor Qianlong's poems in Qing Dynasty and 17 inscriptions of Anqi and Neifu in Qianlong.

This picture shows Changsong Kaolin, a mountain-dock family. In the semi-open room, a woman with a baby in her arms seems to be pacing back and forth, cajoling her children to sleep, full of life interest. Although Wang Meng's works mostly describe the hermit life of Gaoshi, they often contain the secular life interest, which to some extent can be said to be a manifestation of the painter's complex of joining the WTO.

The body of Zhongshan is painted with fine and short hairs, with fewer brushes on the convex and edges, and more brushes on the concave and dark areas, to show the level and volume of the mountains. Pine trees are outlined in light ink, occasionally heavily inked, and their bodies are circled with dry pens. Pine needles are first written in light ink, and then heavily burnt ink is applied to make them more distinct and clear. The mountain bushes are dyed with scorched ink side fronts, which are integrated with the dyeing of the mountain body. They complement each other and add lush and lush texture to the summer green hills.

The continuation of Shiqubaodi, Chunhuaxuan, Volume 17 of Daguanlu, Volume 12 of Picture Essence Consciousness, Volume 5 of Moyuan Huiguan, Volume 20 of Shigutang Calligraphy and Painting Collection.