| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
故宮書畫錄（卷五），第三冊，頁2-3 |
|
收藏著錄 |
故宮書畫圖錄，第一冊，頁11-12 |
|
參考書目 |
1.國立故宮博物院編輯委員會，〈唐李昭道湖亭遊騎〉，收入國立故宮博物院編輯委員會編，《界畫特展圖錄》（臺北：國立故宮博物院，1986年初版），頁54。 |
|
內容簡介（中文） |
李昭道（約西元八世紀初）是李思訓的兒子，甘肅天水人。他最擅長於畫山水，並且能發揚家學，與他的父親大李將軍齊名，號稱小李將軍。李家畫山水，構圖複雜而巧妙。常以均勻的細筆鈎畫出山石樹木輪廓，再填染赭石、石青、石綠等濃重的顏色。還常再加上泥金的線條，襯在山石輪廓線的內側，特別顯出金碧輝煌的感覺。後人稱為「青綠」山水，為「北宗」所主。這一幅是屬於李家山水法，畫幅右下角有「李昭道畫」的落款。 |
|
內容簡介（英文） |
Li Chao-tao, the son of Li ssu-hsun, was born in T’ien-shui in Kansu province. He excelled in painting landscapes in the style invented by his father. The two Li’s are equally famous and are usually referred to as the “Elder General Li” and the “Younger General Li”. Landscapes in the Li family style are characterized by complex compositions filled with minute details. Often trees, rocks, and mountains are drawn with a steady, even line using a very thin brush. These outlines are then filled in with thick, opaque mineral pigments, such as iron red, azurite blue, and malachite green. Thin gold lines are often added on top of these colors to define the patterns on the surfaces of rocks and mountains, creating the impression of a brilliant, shimmering surface of precious materials. Later critics called this style the “Blue and Green” manner and considered it the beginning of the “Northern School” of Chinese painting. This painting belongs to the Li family tradition of painting and bears the signature of Li Chao-tao at the lower right. |
|
內容簡介（英文） |
Li Chao-tao, a member of the T’ang imperial clan, was active in Hsuan-tsung’s reign (713-755). According to painting histories, Li Chao-tao’s father, Li Ssu-hsun, specialized in landscape painting and served as Left General-in-chief of the Militant Guard, hence known as “Greater General Li” then. With his father’s guidance, Li Chao-tao followed his study of painting, which is why he was praised as “Lesser General Li”. This blue-and-green landscape in the fine-line manner, with its even strokes, delicately delineates the outlines of various forms, such as the mountains and trees. They were then filled with hues of ochre, malachite, and azurite, leading one to imagine the bright and dazzling colors along with the brilliant brushwork when originally done. |
|
內容簡介（中文） |
本幅構圖複雜而巧妙。以均勻的細筆鉤畫出山石樹木輪廓，填染赭石、石青、石綠等濃重的顏色。再加上泥金的線條，襯在山石輪廓線的內側，呈現金碧輝煌的感覺。原題為〈唐李昭道湖亭遊騎〉，畫幅右下角「李昭道畫」落款，應為偽加。李昭道（約西元八世紀初）是李思訓的兒子，甘肅天水人。擅長畫山水，並能發揚家學。就此幅的構圖、畫法而言，應為十七世紀晚明仿古之作。(20120103) |
|
內容簡介（英文） |
The composition here is complex and ingenious. The outlines of trees, rocks, and mountains are in steady, even lines using a fine brush and then filled with thick, opaque mineral pigments, such as ochre, azurite, and malachite. Thin gold lines were added to the colors, defining the rock and mountain patterns while creating a colorful, shimmering surface. The original label for this work ascribes it to Li Zhaodao (fl. ca. early 8th c.) of the Tang. In the lower right is the signature, “Painted by Li Zhaodao,” that is probably spurious. Li, son of Li Sixun and native to Tianshui, Gansu, excelled at painting landscapes and followed the family style. Judging from the composition and painting style here, it is probably a 17th-century archaic imitation from the late Ming.(20120103) |
