石渠寶笈續編(寧壽宮),第五冊,頁2622&故宮書畫錄(卷五),第三冊,頁4-5&故宮書畫圖錄,第一冊,頁15-16&此圖為中軸對稱建築群組合,樓閣交互,精整有序。主殿為二層重檐歇山頂,四周有平坐圍廊,屋頂前低後高錯落,用勾連搭的做法。(將三座房屋沿進深方向連接起來,中間不做隔牆,屋頂各自分開,擴大室內使用空間。)下設台基,最前方月台兩側有踏道上下。此圖斗栱繪法簡化以方格重疊,可能是明代人根據畫稿臨摹或改畫的,畫上「李昭道」款係後人添加。&Depicted here is a complex along a central axis with the buildings connected together and shown in order. The main building to the rear has a double-eave, hip-and-gable roof with a roofed balcony in front and balconies to the left and right. A covered walkway extends around the building, and the ascending roofs are interlocking (without supporting walls below). The raised foundation has a platform in front with stairs on two sides. The brackets are simplified into a pattern of crossing lines, suggesting copying or change by a later, perhaps Ming, artist. The signature of Li Chao-tao in the upper right corner thus appears to be a later addition. Li, the son of the famed artist Li Ssu-hsün, followed his father's landscape style. &江渚上高樓層起,內有人對談讀書,童僕捧食穿梭來往。迴廊有人遙向遠處揖拜,石橋上賓客乘騎而來。此軸畫幅雖小,樓閣交互,精整有序。 此圖為典型中軸對稱建築群組合,下有台基承托,總體平面如凸字形,主殿高閣為設於雙層台基上較大建築物,殿前另設月台,正偏兩側有踏道可上下,前有河流,使畫面顯得清幽雅緻。(註 1)主殿是相連的兩個二層樓閣,重檐歇山頂,樓正前方有突出的抱廈一間(正前面出一間前廊),左右則有平台伸出。抱廈有斗栱檐柱和歇山屋頂。樓四周圍有環廊,鉤欄順著樓身與抱廈安裝,使樓面呈十字形。屋頂前低後高錯落,用勾連搭的做法。(將兩三座房屋沿進深方面連接起來,中間不做隔牆,以擴大室內使用空間。)樓閣屋檐翼角起翹甚為明顯,屋檐翼角下方有角葉裝飾,應屬於南方建築裝飾風格。 右方宅院由縱深增加院落,兩邊有配殿主次分明,左右側院稱為跨院。此畫前方臨水處繪有與廂房開門相通,門不對外開敞的門壁,院內似為佛堂祭祀之所。此圖建築物合理安置於自然山水中,部份建物徒手畫不用界尺。若由圖中樹石寫意重點染的畫法,及斗栱用一層枋一層栱簡化方格重疊起來的形式,可能是元人甚至是明初根據早期畫稿臨摹或改畫的。(註2)畫上「李昭道」款係後人添加,詩堂董其昌題跋亦偽,清朝于敏中跋文已指出,此圖可能原是手卷而非長軸。 李昭道(約活動於八世紀初),字希俊,李思訓子。曾任太原府倉曹,玄宗開元年間直集賢院,為中書舍人,後人尊為「小李將軍」。 註 1: 唐、五代、北宋許多建築都無月台之制,遼、金建築中殿堂前面築月台較常見,元代以後已普遍應用。註 2: 其斗栱繪法接近山西太原崇善寺成化十九年(一四八三)摹繪明初兩廊壁畫畫稿,所作「善財童子五十三參」冊頁。