石渠寶笈三編(延春閣),第三冊,頁1476&*故宮書畫錄(卷六),第四冊,頁9&*故宮書畫圖錄,第二十二冊,頁58-61&*1.林莉娜,〈宋李唐江舟釣雪〉,收入林莉娜、張華芝編,《冬景山水畫特展圖錄》(臺北:國立故宮博物院,1989年元月初版),頁57-58。 &* 李唐(活動於十一世紀末至十二世紀初),河陽(今河南孟縣)三城人。字晞古。徽宗朝曾補入畫院,建炎(西元一一二七至一一三O年)間太尉邵淵薦之,授成忠郎、畫院待詔,賜金帶。時年近八十。善畫山水人物。筆意不凡。其山水初學李思訓後加變化,愈覺清新,為南宋四大家之首。本幅圖繪遠山積雪、雪棧茅舍,一孤舟悠行於江深水寒中。通幅以淡墨暈染,江天一色。屋後不凋的林葉,用筆精整,敷色雅淡,雖為冬林寒色景,卻在蒼茫中煥發生機,一派清新可愛。&* Li T’ang (style name Hsi-ku) was from Meng County in Honan. He entered the Imperial Academy of Painting during the reign of Emperor Hui-tsung, and between 1127-1130 was a Painter-in-Attendance at Court. He excelled in painting landscapes and human figures, and his brushwork was exquisite. Schooled in the methodology of Li Ssu-hsün, Li T’ang went to create his own style, and became the greatest of the four Sung masters. In this painting. the artist has depicted distant mountains covered with snow. A small, thatched cottage is similarly veiled in white. On the river, a lone boat leisurely moves through deep, cold water. The scene has been described in light washes of ink, both the river and sky in the same tones. The leaves on the trees behind the cottage have been depicted with systematic and elegant refinement. While the scene is that of a wintry forest, there is an aura of vitality and refreshing loveliness about it.