集古名繪 冊 宋李唐大江浮玉
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- 資料識別：
- 故畫001248N000000009
- 資料類型：
- 繪畫
- 著作者：
- 李唐
- 主題與關鍵字：
- 江河、湖海 行旅 寒林．枯樹 臺閣 房舍 寺廟 客舫
- 日期：
- TIME STAMP:07-9月 -05
- 格式：
- 本幅 20.8x22.2公分&對幅 20.8x22.2公分&全幅 37x73公分
- 關聯：
- 故宮書畫錄（卷六），第四冊，頁217&石渠寶笈三編（圓明園清暉閣），第八冊，頁3650&大江波濤洶湧，近處船塢，兩艘江船聯泊。江中島嶼特起，巨石數點，與主山相呼應，林樹、寺宇、浮圖等描寫，莫不精細。全幅筆墨近似郭熙「早春圖」；而結構細碎情形，又類似宋徽宗「溪山秋色」圖。或係宣和紹興間（一一一九－一一六二）宗郭熙所作。 本幅為「集古名繪」冊第九幅。無名款，舊標李唐作。&The waves of a large river lap at the shores of rocky outcroppings. Two river boats are moored in the foreground as a peak rises in the center of the painting and is surrounded by complementary rocks. Trees and temple buildings punctuate the mountain, providing descriptive details. The use of brush and ink is similar to those in Kuo Hsi's Early Spring, while the spacious composition is related to Autumn Colors over Streams and Mountains by Hui-tsung. Perhaps this work was done by a follower of Kuo Hsi in Hui-tsung's Hsüan-ho era (1119-1125). This is the 9th leaf from the album Collected Famous Paintings. Bearing no seal or signature, it was attributed to Li T'ang, a 12th-century court painter famous for axe-cut texture strokes.& 大江之中，波濤洶湧。近處作船埠，兩人相將上船，江船兩艘聯泊於此。稍右高起兩石，一石上瓦屋在焉，餘則枯樹數株而己。江心中島嶼特起，樹木、寺宇、浮圖，林林總總，工細之甚。環島巨石數點，與主山相呼應。細察筆墨，與郭熙「早春圖」甚接近；而結構細碎情形，又似宋徽宗「溪山秋色」圖。或係宣和時郭熙一派。無名款。舊標李唐作。本幅為「集古名繪」冊第九幅。 李唐（約西元一O四九－一一三O年後），河陽人，字晞古。善山水人物，筆意不凡。 & Large waves toss about on a wide river. In the foreground, two men are about to board one of the two boats moored at a market town. Just to their right rise two hills, one topped by a tile-roofed building and the other simply bearing a few trees. Islands rise from the heart of the river, and on them trees and temple buildings are crowded together, rendered in minute detail. Several rounded rocky islets echo the form of the major peak. Careful examination reveals that the brushwork here is quite close to that of “Early Spring” by Kuo Hsi (act. 11th cent.), while the fragmented composition recalls “Autumn Colors among Streams and Mountains” by emperor Hui-tsung (1082-1135). Thus, it may be a work in the Kuo Hsi tradition executed during the Hsüan-ho era (1119-1125). It is not signed but is attributed in its label to Li T’ang, who depicted landscapes and figures in an extraordinary manner. This is the ninth leaf from the album Chi-ku ming-hui.& 李唐（約1049？1130後），河陽三城人，字晞古，善畫山水人物，筆意不凡，喜作長圖大幛，石用大斧劈皴，水不用魚鱗縠紋，有盤渦動蕩之勢。北宋徽宗在宣和畫院?擔任畫師，北宋滅亡後，與弟子蕭照一同流亡到南宋國都臨安（今浙江杭州），以賣畫維生，南宋高宗建炎年間，以太尉邵淵推薦，重新進入畫院，任職待詔，時年近八十。 畫大江中，島嶼屹立，岸邊風濤環繞，似有飛動之勢，島上寶塔寺宇，描寫精工細巧，清潤可愛。以結構來看，畫雖小，仍是以北宋主峰鼎立於中央之格式佈列，但其風格與李唐剛健硬拔的畫法不同，倒比較接近郭熙秀潤的氣象，如島嶼主峰的輪廓線條轉頓起伏甚大，接近郭熙早春圖近景的巨石，全圖的筆墨清潤，與早春圖峰巒隱顯，雲煙變幻之態無分軒輊。因此若以筆墨及風格來看，可能是宣和紹興間（1119？1162）屬郭熙一派畫家的傑作。 &The waves of a large river lap at the shores of rocky outcroppings. Two riverboats are moored in the foreground as a peak rises in the center of the painting and is surrounded by complementary rocks. Trees and temple buildings punctuate the mountain, providing descriptive details. The use of brush and ink is similar to those in Kuo Hsi's Early Spring, while the spacious composition is related to Autumn Colors over Streams and Mountains by Hui-tsung. Perhaps a follower of Kuo Hsi did this work in Hui-tsung's Hsuan-ho era (1119-1125). This is the 9th leaf from the album Collected Famous Paintings. Bearing no seal or signature, it was attributed to Li T'ang, a 12th-century court painter famous for axe-cut texture strokes.
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- 國立故宮博物院
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