石渠寶笈初編(養心殿),上冊,頁619&*故宮書畫錄(卷八),第四冊,頁31&*故宮書畫圖錄,第十五冊,頁303-310&*1.王耀庭,〈宋李公麟畫歸去來辭〉,收入王耀庭編,《淵明逸致特展圖錄》(臺北:國立故宮博物院,1988年初版),頁98。 2.彭家鳳,〈中國清代以前繪畫中犬的形象〉,《議藝份子》,第6期(2004年4月),頁27-41。 &* 《宣和畫譜》載:「公麟畫陶潛歸去來兮圖,不在於田園松菊,乃在於臨清流處。」這種「歸去來辭圖」影響後世甚鉅。本幅筆墨清朗,白描人物線條流暢。幅上並無作者款印,根據舊籤,定為李氏之作。然從其畫風觀之,當為後人所為。 李公麟(西元一0四九-一一0六年),舒州(安徽舒城)人。字伯時,號龍眠居士。博文強識,熙寧三年進士。精於繪事,人物、鞍馬、花鳥、山水,無不精妙。 &*The Hsuan-ho hua-p’u catalogue from the Northern Sung states that “Kung-lin illustrated T’ao Yuan-ming’s Homecoming. Not among gardens, pines, and mums, he is shown by clear streams.” This type of illustrated Homecoming had a major influence on later versions. The brush and ink of this work are pure and clear, and the figures in outline manner (pai-miao) are fluid. This work bears neither seal nor signature of the artist, but has been attributed to Li Kung-lin. The style, however, suggests the hand of a later artist. Li Kung-lin, a native of Anhwei province, was a highly learned scholar. Also a gifted painter, he excelled at painting figures, horses, and birds-and-flowers, and landscapes.