《策杖寻幽图》轴，明，谢时臣绘，纸本，墨笔，纵84.9cm，横31.3cm。
本幅左下方有画家款识：“六十翁谢时臣写，时丙午秋日。”钤朱文“谢氏思忠”印。画面上方有同时人文嘉、钱谷的题诗及钤印。
图中山峰巍峨耸峙，中间一条溪流将画面大体分为左右两段。山谷溪流上的桥梁暗示两山间道路畅通，画左林木掩映下一文士拄杖沿山路走来，点明“寻幽”主题。谢时臣的部分作品皆自题是仿元王蒙笔法而作，如南京博物院藏正德十二年（1517年）《仿王蒙山水图》、故宫藏嘉靖二十九年（1550年）《溪亭逸思图》和上海博物馆藏《江山胜览图》等。上述作品都是他相对较早的作品，表明王蒙在谢时臣画风的形成过程中有着重要的意义。该图是谢时臣60岁时所作（嘉靖二十五年，1546年），在山石结构、笔墨皴法上还可以看到王蒙的影子，但与王蒙典型的精细密集的牛毛皴相比，图中山石皴法粗短松动，则明显是受到了沈周的影响所致。该画整体感强，皴法晕染能很好地融入到山石整体的结构之中，构图饱满，笔墨苍润，体现出画家融合前人笔墨创造自己风格的努力。
--------Introduction in English--------
The axis, Ming Dynasty, Xie Shichen's drawing, paper and ink, 84.9 cm in length and 31.3 cm in breadth.
In the lower left of this picture, there is painter Qian Zhi: "Sixty Weng Xie Shichen wrote it at noon and autumn." Jun Zhuwen's "Xie Shizhong" seal. At the top of the picture, there are inscriptions of Wenjia and Qianggu, as well as stamps of Jun.
The pictures show towering peaks. A stream in the middle divides the picture into left and right segments. The bridge on the valley stream implies that the road between the two mountains is smooth. The left tree is painted to show a scholar walking along the mountain road with his stick, which points out the theme of "seeking seclusion". Some of Xie Shichen's works are written in imitation of Wang Meng's brushwork in Yuan Dynasty, such as the 12 years (1517) of Zhengde Collection in Nanjing Museum, "Imitating Wang Meng's Landscape Map", the 29 years (1550) of Jiajing Collection in the Palace Museum, "Xiting Yisi Map" and "Jiangshan Shengsheng Map" in Shanghai Museum. All the above works are his relatively early works, which shows that Wang Meng played an important role in the formation of Xie Shichen's painting style. This picture was made by Xie Shichen when he was 60 years old (Jiajing 25 years, 1546). Wang Meng's shadow can be seen in the structure of mountains and stones and the method of pen and ink chains. However, compared with Wang Meng's typical fine and dense chaff, the rough and loose method of mountain chaff is obviously caused by Shen Zhou's influence. The painting has a strong sense of wholeness, and the halo dyeing method can be well integrated into the overall structure of the mountains and rocks. The composition is full and the brush and ink are graceful, reflecting the efforts of the painter to create his own style by integrating the brush and ink of his predecessors.
