| 參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁2 |
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收藏著錄 |
故宮書畫圖錄，第一冊，頁9-10 |
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研究性論著 |
江天闊渺，風帆 斥流，微風劃過水面波紋粼粼。 山徑層疊，各樣林木錯落參差，前景殿堂隱蔽於長松秀嶺之間，松葉古意樸拙。 畫中人物數人，行旅騎馬於蹬道者頭戴中唐以後 巾僕頭。 畫山水樹石筆格遒勁，與敦煌中晚唐壁畫近似。 此畫與北京故宮所藏隋展子虔「游春圖」左半段構圖幾乎相同，兩圖實出於同一個底本，此圖是掛軸，景物保存原來手卷或屏風的一部份。 根據畫中出現晚唐與北宋服飾與建築特點，此畫應該是北宋徽宗（一一０一—一一二五）畫院時的仿作，其底本與展子虔畫風有關。（註 1） 畫中左方院落建物依山勢而蓋，為適應地形環境將院門開在東側，南北接廊，院子內堂室呈南北向，不是傳統中軸對稱型布局。 畫家採俯瞰構圖法，觀者可窺透堂屋院內，正房重檐歇山頂灰瓦覆蓋，檐下均有斗栱。 在兩柱頭之間的闌額（柱頭之間的水平構件，隋唐已普遍設於柱頭間，有利於整體構架的穩定。）上有補間鋪作，施「一斗三升」。 房舍建於台階之上，牆上安直櫺窗、格子門。 此圖斗栱、柱、梁、枋用朱色粉刷，與青綠山水相間，金碧輝映。（註 2）根據唐宋屋舍之制：「非品官毋得起門屋，非宮室寺觀毋得彩畫棟宇及朱漆梁柱窗。 」此建築級別較高，結構華美，故所畫應為官員之鄉間四合院宅第。 李思訓（六五一—七一八）唐宗室，字建，一字建景，甘肅天水人。 曾任左羽林大將軍，玄宗即位開元初，官右武衛大將軍。 註1 : 傅熹年<論幾幅傳為李思訓畫派金碧山水的繪製時代>，<<文物>>1983年第11 期。 註2 : 中國在木材面上塗飾起源很早，<<尚書 ‧ 書經>>「若作梓材… 其惟其塗丹 」所謂「白壁丹楹」、「朱柱素壁」。 唐代以前建築色彩以朱、白兩色為主，牆面一律用白色，木架部份一律用朱色。(林莉娜) |
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參考書目 |
1.王耀庭，〈唐李思訓江帆樓閣〉，收入王耀庭編，《青綠山水畫特展圖錄》（臺北：國立故宮博物院，1995年七月初版一刷），頁75。 2.林莉娜，〈(傳)唐李思訓江帆樓閣〉，收入林莉娜主編，《宮室樓閣之美 – 界畫特展》（臺北：國立故宮博物院，2000年初版），頁18-19、96。 3.陳韻如，〈唐李思訓江帆樓閣 軸〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁252-255。 4.〈唐李思訓江帆樓閣〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁194。 5.趙鐵銘、王瑾，〈文物辭典〉，《故宮文物月刊》，第1期（1983年4月），頁141。 6.本社，〈唐李思訓江帆樓閣〉，《故宮文物月刊》，第33期（1985年12月），封底裡。 |
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內容簡介（中文） |
畫中建物依山勢而蓋，堂屋大門左右有廊，正殿重檐歇山頂，檐下柱頭上施一斗三升，牆上安直櫺窗。斗栱、梁柱用朱色粉刷，所謂「白壁丹楹」，與青綠山水相間，金碧輝映。古代屋舍之制：「非品官毋得起門屋，非宮室寺觀毋得彩畫棟宇及朱漆梁柱窗。」此建築級別較高，應是官員鄉間宅第。李思訓（六五一—七一八）唐宗室，甘肅天水人，玄宗時官至右武衛大將軍。 |
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內容簡介（英文） |
The hip-and-gable roof of this building has double eaves. The bracket timber is large, while the tripartite brackets distribute the weight of the roof to the columns. Lattice windows decorate the walls. Brackets, beams, and columns are red. Standing out against the walls in the “white-and-red” style, they complement the “blue-and-green” style of landscape. This complex correlates well with ancient regulations for important buildings. Consequently, this was perhaps the countryside home of an official. Since the clothing is that of the High T’ang and the architecture that of the Sung, this was probably done in the Northern Sung (960-1126). Li Ssu-hsun, to whom this painting is attributed, was best known for his colored landscape paintings. |
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內容簡介（中文） |
畫中建築依山勢而蓋，堂屋大門左右有廊，正殿重檐歇山頂，灰瓦覆蓋，下檐斗栱用材較大，柱頭上施一斗三升，牆上安直櫺窗。此圖斗栱、梁柱用朱色粉刷，所謂「白壁丹楹」，與青綠山水相間，金碧輝映。 畫中為官員宮室或寺觀之類的建築。依據畫中晚唐、北宋服飾與建築特點, 應是宋徽宗畫院的仿作，李思訓（約653－718），唐宗室，字建，甘肅天水人。玄宗開元初，官至右武衛大將軍。(20061206) |
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內容簡介（英文） |
The buildings here were constructed along the slope of a hillside, and to the left and right of the entrance to the hall are corridors. The main building has a flaring rooftop composed of multiple eaves covered with earthenware tiles. The materials used for the brackets below the eaves are large; the column heads support triple brackets, while the walls are arranged with screen window panels. The bracketing system as well as beams and columns in this work were painted in red in the so-called “red column, white wall” manner. Combined with the blue-and-green landscape painting, it creates a resplendent effect. Depicted here is the building of an official or that of a temple. Based on the late T’ang dynasty and Northern Sung features of the architecture and clothing of the figures, this is probably an imitation done at the Painting Academy under Emperor Hui-tsung. Li Ssu-hsun, to whom this painting was originally attributed, was a member of the T’ang imperial family who went by the style name Chien and was a native of T’ien-shui, Kansu. In the early part of the K’ai-yuan era under Emperor Hsuan-tsung, he served to the post of Right Militant Guard General-in-chief.(20061206) |
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內容簡介（中文） |
江天闊渺，風帆溯流，山嶺間長松、翠竹掩映，山徑層疊，文人雅士悠游其間。全作設色穠麗古雅，山石用墨線鉤勒輪廓，青綠渲染，不見皴筆。圖案化的夾葉饒富裝飾意趣。此幅無作者款印，依據舊籤定名。李思訓（約653－718），唐宗室，善畫青綠山水，風格工巧繁縟。雖然此幀的構圖與畫樹竹的筆法，皆與唐畫不類，但保存了唐代青綠山水的遺風，是研究李思訓山水的一件重要作品。(20110913) |
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內容簡介（英文） |
By a vast expanse of sky and river appear sails in the wind going against the flow. In the shade of tall pines and verdant bamboo along the mountain ridges are layered pathways where literati and gentlemen leisurely stroll. The coloring throughout is luxuriantly beautiful and classically archaic, with strokes of ink to outline and define the landscape forms. Washes of blue and green were added, but texture strokes are not to be found here. The patterned outlining of the leaves also has a strong decorative effect. This work bears neither seal nor signature of the artist, but Li Sixun is given as the artist in the old title label. Li Sixun, a member of the Tang imperial clan, excelled at painting blue-and-green landscapes in a style both exquisite and complex. Although both the composition and brushwork for rendering the trees and bamboo here are unlike those found in Tang paintings, this work still preserves traces of Tang blue-and-green landscapes, making it an important example for the study of Li Sixun’s landscape painting.(20110913) |
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參考書目 |
林麗江，〈唐李思訓江帆樓閣 軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁90-91。 |
