石渠寶笈三編(延春閣),第三冊,頁1480 &*故宮書畫錄(卷五),第三冊,頁77-78 &*故宮書畫圖錄,第二冊,頁55-56&*1.李玉珉,〈風雨歸牧〉,收入林柏亭主編,《國寶菁華 — 書畫•圖書文獻篇》(臺北:國立故宮博物院,2006年12月),頁203。 2.李玉珉,〈帝國的回憶 國立故宮博物院瑰寶赴法展專輯一 — 李迪風雨歸牧〉,《故宮文物月刊》,第185期(1998年8月),頁38-39。 3.童文娥,〈風雨歸牧〉,收入何傳馨主編,《文藝紹興:南宋藝術與文化•書畫卷》(臺北:國立故宮博物院,2010年十月初版一刷),頁389-390。&*李迪,生卒年不詳。錢塘(今浙江杭州)人,為南宋孝、光、寧宗(1162-1224)畫院畫家,曾任祗侯。擅花鳥、竹石、走獸,畫風寫實清新。 畫蘆岸柳堤,兩個牧童遇雨趕牛返家的情景,牛隻與人物的動態相互呼應,富戲劇張力。用淡墨暈染,在畫面上罩了一層迷濛的煙霧,表現風雨的晦暗陰沈。以中鋒為主,葉細如針,濃淡相間,繁而不亂;牛腹以墨渲染,再絲出牛毛硬挺尖細的質感,具南宋典型風格。(20101015)&* The birth and death dates of Li Di (native to Qiantang [modern Hangzhou, Zhejiang]) are unknown, but he was an artist at the Painting Academy under Emperors Xiaozong, Guangzong, and Ningzong, having once served as an Attendant (zhihou). He specialized in bird-and-flower, bamboo-and-rock, and animal subjects, his style of painting realistic and fresh. In this painting by a willow bank with reeds, two oxherd boys have encountered a rainstorm and prod their oxen to return home. Oxen and figures interact in a tense and dramatic scene. Washes of light ink envelop the painting in a layer of hazy mist to suggest the darkness brought by rain clouds. Using mostly a centered brush, the artist rendered the leaves as fine as needles, alternating between light and dark for a complex yet orderly arrangement. The bellies of the oxen were washed in ink and then a very fine stiff brush applied to render the hairs as delicate as silk. This is a typical Southern Song style of painting.(20101015)