宋李唐萬壑松風圖　軸

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資料識別：: 故畫000896N000000000
資料類型：: 繪畫
著作者：: 李唐
主題與關鍵字：: 溪澗、湍泉; 瀑布; 松
格式：: 本幅 188.7x139.8公分
關聯：: 石渠寶笈三編（延春閣），第三冊，頁1477; 故宮書畫錄（卷五），第三冊，頁73-74; 故宮書畫圖錄，第二冊，頁35-36; 李唐（約一０四九-一一三０後，另一說約一０七０-一一五０後），河陽人，字晞古。北宋徽宗朝任職翰林圖畫院。靖康之難後，中原紛亂，李唐則在建炎年間（一一二七-一一三０）渡江至杭州。南宋紹興年間（一一三一-一一六二）高宗重建了畫院，李唐再入畫院，授成忠郎，為畫院待詔，賜金帶。本幅是繼「谿山行旅」、「早春」之後，北宋山水的另一巨作，代表了山水畫邁入另一輝煌的階段。在主峰旁陡直的遠山上，題有「皇宋宣和甲辰春河陽李唐筆」款，此時為北宋宣和六年（一一二四），李唐已經步入高齡，但下筆所呈現出的氣勢，仍令觀者撼動。畫上的主峰布置在畫幅中央，兩旁有高低參差的插雲尖峰相襯，無論山崗、峭壁，造型沈穩厚重，巖面堅硬，紋理如同經過斧頭砍鑿，世稱「斧劈皴」。畫中構圖採高遠形式，使全畫氣氛肅穆，但李唐在構圖上擴大了近景林木的比例，縮小了主峰，使近景松林和觀者的距離接近，空間結構更為合理。李唐畫風承先啓後，實已開啓南宋近景山水的先聲。; Li T'ang, a native of Ho-yang, is also said to have lived from about 1070 to after 1150. He served in the Hanlin Academy of Painting under Emperor Hui-tsung (r. 1101-1125) of the Northern Sung. Sometime between 1127 and 1130, after the fall of the Northern Sung in 1126 to northern invaders, Li escaped to the south, where the government became re-established as the Southern Sung (1127-1279) at Hangchow. There he re-entered the Painting Academy, which was set up during the period from 1131 and 1162. He went on to receive the title of Gentleman of Complete Loyalty and the prestigious Gold Belt. He also became a Painter-in-Attendance and was an important figure in court painting at the time. After the Museum's “Travelers Among Mountains and Streams” by Fan K'uan and “Early Spring” by Kuo Hsi of the Northern Sung, this is late Northern Sung masterpiece represents the next stage in monumental landscape painting of the period. Li T'ang's signature appears on a slender peak to the left and reads, “Painted by Li T'ang of Ho-yang in spring of the chia-ch'en year [1124] of the Hsuan-ho Reign of the Great Sung.” By this time, Li was already advanced in age, but his brushwork is still quite strong and inspired. With the main peak located in the center, clouds wrap around high and low peaks on either side. The cliffs and peaks are imposing and rugged, and their texturing was done using brush strokes similar to wood chopped by an axe (and hence became known as “axe-cut” strokes). Li T’ang employed a high distance compositional formula to make the atmosphere appear solemn. However, he also expanded the composition in front to include foreground woods and streams, which make the scene more intimate and closer to the viewer, and hence more comprehensible as a natural landscape. This trend towards closer visions continue in Sung painting, making this work an important forerunner of the intimate style of Southern Sung landscape painting.
管理權：: 國立故宮博物院