《华山图》册, 明，王履作，纸本，墨笔或设色，每开纵34.5cm，横50.5cm。

　　本幅款识“畸叟”二字。据自题，知此图是王履于洪武十六年（1383年）游览华山后，潜心构思半年多时间始画成。全册各开意境或险峻，或幽深，或苍茫，或清旷，将华山万秀千奇的佳景胜迹表现得淋漓尽致。作者在《华山图序》中较系统地论述了其绘画主张，其中“我师心，心师目，目师华山”的“师法造化”的见解和“以形写意”的观点，对后世山水画理论影响深远。

　　华山北俯黄河，东扼潼关，山势巍峨高耸，自古即列为五大名岳之一，号称西岳。其雄奇宏丽的景色成为历代诗人、画家赞咏的题材。

　　此册图页40幅，另有自作记、跋、诗叙、图叙共66幅，合成一册。故宫藏图页29幅，余藏上海博物馆。每幅一景，每景均有精妙的描绘。如《上方峰图》，画面地势险扼，岗峦对峙，在陡削的峰壁上铁锁下垂，犹如银练垂空，崖下行人昂首仰望，着意渲染出“青壁无路难寅缘”（韩愈诗）的险峻形势。而《苍龙岭顶图》则云霭缭绕，峰峦隐现，一派苍茫絪缊的气象。全图以水墨表现为主，略加赭石、花青等淡彩晕染。构图多采用近景和中景，突出主体又注意空间进深。用笔挺拔峭劲，山石多以劲利的笔触作小斧劈皴，表现华山坚实的石质，树木则以瘦硬如屈铣铁的简洁笔道显示挺秀之姿。画法取自南宋马远、夏圭，又具自身风貌。此图为王履晚年杰作，亦是其存世孤本。

　　明代汪砢玉《珊瑚網》、朱存理《铁網珊瑚》，清代卞永誉《式古堂书画汇考》、十百斋主人《十百斋书画录》等书著录。

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

Hua Shan Tu, Ming Dynasty, Wang Ru, Paper, Ink or Colour Settings, 34.5 cm in length and 50.5 cm in width.

This paragraph knows the word "abnormal old man". According to the title, this picture was drawn after Wang Lu visited Huashan Mountain in Hongwu 16 years (1383) and conceived it for more than half a year. The whole book is full of beautiful scenery and scenic spots in Huashan, which are either steep, deep, vast or clear. In the preface to Huashan Pictures, the author systematically expounds his painting ideas. Among them, the views of "learning from the heart, mind and eyes, and eyesight" and "learning from the nature" of Huashan have far-reaching influence on the theory of landscape painting in later generations.

Huashan overlooks the Yellow River to the north and Tongguan to the east. The mountains are towering and lofty. Since ancient times, Huashan has been listed as one of the five famous mountains, known as Xiyue. Its magnificent scenery has become the theme of praise by poets and painters of all dynasties.

This volume has 40 pages and 66 self-written, postscript, poem and picture narratives, which compose one volume. The Palace Museum has 29 pages and Shanghai Museum is the rest. Every scene, every scene has a delicate description. For example, in the "Top Peak Map", the terrain is dangerous, hills confront each other, and iron locks droop on the steep peak walls, just like silver drills hanging in the sky, people look up from the cliff, and deliberately render the precipitous situation of "there is no road on the green wall, but it is difficult for Yinyuan" (Han Yu's poems). The "Canglong Ridge Top Picture" is cloudy, peaks looming, a vast and dim atmosphere. The whole picture is mainly in ink and wash, with ochre and anthocyanine slightly added. The composition mostly uses close-range and middle-range, highlighting the main body and paying attention to the depth of space. With a sharp brush strokes, the rocks are mostly chopped with small axes, showing the solid stone quality of Huashan Mountain, while the trees show their elegant posture in a simple way that is as thin as bending and milling iron. Drawing from Ma Yuan and Xiagui in the Southern Song Dynasty, they also have their own features. This picture is Wang Lu's masterpiece in his later years. It is also a solitary copy of Wang Lu's life.

Wang Dayu's Coral Net in Ming Dynasty, Zhu Cunli's Iron Net Coral, Bian Yongyu's Collection of Paintings and Calligraphy in Style Ancient Hall in Qing Dynasty, and Shibaizhai's Master's Record of Paintings and Calligraphy in Shibaizhai.