《仿黄公望山水》卷，明，董其昌绘，纸本，水墨，纵25.7cm，横207cm。

　　自题：“丙辰首春写黄子久笔意。时有明州闻尚书家藏子久图，客以见授，因略仿之。玄宰。”钤“董其昌印”。丙辰为明万历四十四年（1616年）。

　　鉴藏印钤“顾子山秘箧印”、“愉庭审定”、“宜子孙”等。

　　董其昌对元代山水名家黄公望的艺术极为赞赏，认为“元季四大家，以黄公望为冠”。他广泛搜集黄公望的传世画作，自言“黄子久画，以余所见，不下三十幅”，如其藏有黄氏的《富春大岭图》、《天池图》、《浮峦暖翠图》及《临溪书屋图》等。他对所得黄氏作品悉心体会，描摹不倦。此图便是董其昌62岁时临仿黄公望笔意创作的山水画精品。

　　图中峰峦绵延，于高低错落中显现出逶迤起伏的节奏感。在移步换景的设陈布势及草木树石的勾描笔法上均可见董氏对黄公望绘画艺术的传神表达。近景形态各异的树木相互遮掩地生长在凹凸不平的坡地上。树干以墨线双勾，用淡墨或皴或晕，增强了其明暗效果及立体感。树叶的表现更为丰富，有的以侧锋卧笔大点横贯，有的用浓淡墨相互交叠，有的直接落笔画线成叶，有的则以细线双勾成夹叶状。画家笔下的树木山石不重形貌而重其内在的神韵本质，同时笔墨的自身韵味也成为画家自觉的追求，这些都表现出明代晚期山水画的美学特征。

 

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

 

"Imitating Huanggongwang Landscape" Volume, Ming Dynasty, Dong Qichang Painting, Paper, Ink, 25.7cm in length and 207cm in horizontal.

Self-titled: "The first spring of the third year wrote Huang Zijiu's brushwork. Sometimes there are Mingzhou Wen Shang calligrapher's Tibetan Jiu Tu, which is taught by visitors, because it is slightly imitated. Xuan Zai. " Jun "Dong Qichang Yin". Binchen is the forty-fourth year of Wanli in Ming Dynasty (1616).

"Guzishan Secret Seal", "Yuting Trial", "Yizi Sun" and so on.

Dong Qichang highly appreciated the art of Huang Gongwang, a famous landscape artist in the Yuan Dynasty. He believed that the four greatest artists in the Yuan Dynasty were Huang Gongwang. He collects widely Huang Gongwang's handed-down paintings and tells himself that "Huang Zijiu painted more than 30 paintings", such as Huang's "Fuchun Daling Map", "Tianchi Map", "Floating Range Warm Green Map" and "Linxi Bookstore Map". He had a thorough understanding of Huang's works and was tireless in describing them. This picture is Dong Qichang's excellent landscape paintings created in imitation of Huang Gongwang's brushwork when he was 62 years old.

The peaks and ranges in the picture are continuous, showing a fluctuant sense of rhythm in the high and low staggered. Dong's spiritual expression of Huang Gongwang's painting art can be seen in the layout of changing scenery and the sketching of plants, trees and stones. Trees with different close-range shapes grow on uneven slopes, covering each other. The trunk is double-hooked with ink line and light ink or chaff or halo, which enhances its light and dark effect and stereoscopic sense. The performance of leaves is more abundant, some of them are crossed by large points with side-edge pens, some overlap with thick and light ink, some directly draw lines into leaves, and some of them are folded with thin lines and double lines. The trees, hills and stones in painter's works do not attach importance to appearance but to their inherent essence of charm. At the same time, the self-charm of brush and ink has become the artist's conscious pursuit, which shows the aesthetic characteristics of landscape painting in the late Ming Dynasty.