《山水楼阁图》轴，清，陈卓绘，绢本，设色，纵204厘米，横100厘米。

　　本幅无作者款识。钤“陈卓”、“中立”印2方。

　　清初以江南的山水风物为创作素材的金陵画派中也有一些长于建筑的画家，陈卓即其中的代表。此轴描绘虚构的仙山幻境，其楼台全用界笔，结构严整，刻画工细。图中纹理繁密的山石、树木也以工笔重彩表现，它们均反映出作者具有深厚的宋代院体画技巧。然而，因为作者在创作上缺乏对实景的观察，所以其景致于工细、华美中缺少生气。清秦祖永《桐阴论画》曾指出陈卓山水画的这一缺憾，言其画“绢本山水，千丘万壑，具有宋人精密，惜无元人灵秀”。

 

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

 

"Landscape Pavilion Map" axis, Qing Dynasty, Chen Zhuo Painting, silk, color, 204 cm vertical, 100 cm horizontal.

This picture has no author's knowledge. Jun "Chen Zhuo" and "Neutral" India.

In the early Qing Dynasty, there were also some painters who were good at architecture in Jinling School, among which Chen Zhuo was the representative. This axis depicts the imaginary fairy mountain fantasy. Its terraces are all bounded by pens. Its structure is tidy and its depiction is meticulous. The densely textured rocks and trees in the picture are also represented by meticulous brushwork, which reflects the author's deep skills in the Song Dynasty courtyard body painting. However, due to the author's lack of observation of the real scene in his creation, his scenery lacks vitality in detail and beauty. In his Tongyin Painting, Zuyong of the Qing Dynasty once pointed out this defect of Chen Zhuo's landscape paintings, saying that his paintings were "silk-based mountains and rivers with thousands of hills and valleys, with sophistication of the Song Dynasty, but without the brilliance of the Yuan Dynasty".