《云壑藏渔图》轴，明，蓝瑛作，绢本，设色，纵369cm，横98cm。

　　本幅自识：“雲壑藏漁。丁酉秋九日仿李希古畫於山陰道上。西湖外史藍瑛。”钤“蓝瑛之印”、“田菽氏”。又“介菴”等鉴藏印三方。

　　此图为蓝瑛73岁（1657年）时的力作。该图构图奇险，尤其是画幅的上半部，一段奇峭耸立的山峰嵯峨壮观，于危峙耸拔呼之欲倒的险迫中，又具“去天不盈尺”的崇高感，显示出作者较强的造景生势能力。蓝瑛在树木的表现上亦有较强的造型能力，他能准确而生动地把握各种树木的形态特征，伸枝布叶，饶有情致。树叶的表现技法极为丰富，有以线勾双边的夹叶法，以墨直接卧笔横点的点叶法，还有松针勾簇、罩以淡彩的勾染结合法。山石皴法，仿宋人李希古（李唐）笔意，以粗犷的墨笔勾勒石之轮廓，以侧锋横擦的小斧劈皴皴擦石面，成功地显现出山岩凝重的质感。该图既有职业画家的行业气，又有文人画家的书卷气，二者巧妙地融汇贯通，表明蓝瑛不愧是明末职业画家向文人绘画靠拢的代表人物。

 

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

 

The axis of Yungai Tibetan Fishing Map, Ming Dynasty, Lanying, silk, color, 369 cm in length and 98 cm in transverse.

This self-awareness: "Yunqi Tibetan fishery. Ding Youqiu painted on the mountain vagina in imitation of Li Xigu on the 9th of autumn. Shi Lanying outside the West Lake." Jun's "Blue Ying's Seal" and "Tian Bin's". There are also "Jie'an" and other three sides of Tibetan seal.

This picture is the masterpiece of Lan Ying when he was 73 years old (1657). The composition of the picture is strange and dangerous, especially in the upper half of the picture, with a magnificent mountain peak. In the face of the dangerous situation, it also has the sublime feeling of "going to heaven and not exceeding a foot", which shows the author's strong ability to create scenery. Blue Ying also has a strong modeling ability in the performance of trees. He can accurately and vividly grasp the morphological characteristics of various trees, stretching branches and spreading leaves, and full of emotion. There are many techniques for the expression of leaves, such as double-sided clipping with lines, dot-leaf method with ink directly lying on the cross-point of pen, and combination method of pine needle hooking and covering with light color. The method of mountainous stone rubbing imitates the brushwork of Li Xigu (Li Tang) of the Song Dynasty, outlines the outline of the stone with rough ink brush, and rubs the stone surface with a small axe rubbed sidewise, successfully showing the heavy texture of the mountainous rock. This picture has both the professionalism of professional painters and the scholar painters'scroll spirit. The skillful integration of the two shows that Lan Ying is worthy of being the representative figure of the professional painters drawing close to the scholar paintings in the late Ming Dynasty.