书体:

色彩:

青绿

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：石渠宝笈
鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：缉熙殿宝
收传印记：仪周鑑赏
收传印记：安

题跋资料:

主题:

主要主题：山水  ；次要主题：树木松 ；次要主题：建筑台阁 ；其他主题：山水江河、湖海 ；其他主题：人物高士（士人、隐士） ；其他主题：人物侍从（侍女、童仆） ；其他主题：人物渔夫、船夫 ；其他主题：树木  ；其他主题：树木杨柳 ；其他主题：船渔船 ；其他主题：船帆船 ；其他主题：走兽骡．驴 

技法:

界画 

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页2 收藏着录： 故宫书画图录，第一册，页9-10 参考书目： 1.王耀庭，〈唐李思训江帆楼阁〉，收入王耀庭编，《青绿山水画特展图录》（台北：国立故宫博物院，1995年七月初版一刷），页75。2.林莉娜，〈(传)唐李思训江帆楼阁〉，收入林莉娜主编，《宫室楼阁之美 - 界画特展》（台北：国立故宫博物院，2000年初版），页96。3.陈韵如，〈（传）李思训江帆楼阁〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页253- 255。4.〈唐李思训江帆楼阁〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页194。5.赵铁铭、王瑾，〈文物辞典〉，《故宫文物月刊》，第1期（1983年4月），页141。6.本社，〈唐李思训江帆楼阁〉，《故宫文物月刊》，第33期（1985年12月），封底里。 内容简介（中文）： 画中建物依山势而盖，堂屋大门左右有廊，正殿重檐歇山顶，檐下柱头上施一斗三升，墙上安直櫺窗。斗栱、梁柱用朱色粉刷，所谓「白壁丹楹」，与青绿山水相间，金碧辉映。古代屋舍之制：「非品官毋得起门屋，非宫室寺观毋得彩画栋宇及朱漆梁柱窗。」此建筑级别较高，应是官员乡间宅第。李思训（六五一—七一八）唐宗室，甘肃天水人，玄宗时官至右武卫大将军。 内容简介（中文）： 画中建筑依山势而盖，堂屋大门左右有廊，正殿重檐歇山顶，灰瓦覆盖，下檐斗栱用材较大，柱头上施一斗三升，墙上安直櫺窗。此图斗栱、梁柱用朱色粉刷，所谓「白壁丹楹」，与青绿山水相间，金碧辉映。 画中为官员宫室或寺观之类的建筑。依据画中晚唐、北宋服饰与建筑特点, 应是宋徽宗画院的仿作，李思训（约653－718），唐宗室，字建，甘肃天水人。玄宗开元初，官至右武卫大将军。(20061206) 内容简介（中文）： 江天濶渺，风帆溯流，山岭间长松、翠竹掩映，山径层叠，文人雅士悠游其间。全作设色秾丽古雅，山石用墨线钩勒轮廓，青绿渲染，不见皴笔。图案化的夹叶饶富装饰意趣。此幅无作者款印，依据旧籤定名。李思训（约653－718），唐宗室，善画青绿山水，风格工巧繁缛。虽然此帧的构图与画树竹的笔法，皆与唐画不类，但保存了唐代青绿山水的遗风，是研究李思训山水的一件重要作品。(20110913) 内容简介（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) 内容简介（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-hsün, 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-yüan era under Emperor Hsüan-tsung, he served to the post of Right Militant Guard General-in-chief.(20061206) 内容简介（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-hsün, to whom this painting is attributed, was best known for his colored landscape paintings. 研究性论着： 江天阔渺，风帆 斥流，微风划过水面波纹粼粼。 山径层叠，各样林木错落参差，前景殿堂隐蔽于长松秀岭之间，松叶古意朴拙。 画中人物数人，行旅骑马于蹬道者头戴中唐以后 巾仆头。 画山水树石笔格遒劲，与敦煌中晚唐壁画近似。 此画与北京故宫所藏隋展子虔「游春图」左半段构图几乎相同，两图实出于同一个底本，此图是挂轴，景物保存原来手卷或屏风的一部份。 根据画中出现晚唐与北宋服饰与建筑特点，此画应该是北宋徽宗（一一０一—一一二五）画院时的仿作，其底本与展子虔画风有关。（注 1）画中左方院落建物依山势而盖，为适应地形环境将院门开在东侧，南北接廊，院子内堂室呈南北向，不是传统中轴对称型布局。 画家采俯瞰构图法，观者可窥透堂屋院内，正房重檐歇山顶灰瓦覆盖，檐下均有斗栱。 在两柱头之间的阑额（柱头之间的水平构件，隋唐已普遍设于柱头间，有利于整体构架的稳定。）上有补间铺作，施「一斗三升」。 房舍建于台阶之上，墙上安直櫺窗、格子门。 此图斗栱、柱、梁、枋用朱色粉刷，与青绿山水相间，金碧辉映。（注 2）根据唐宋屋舍之制：「非品官毋得起门屋，非宫室寺观毋得彩画栋宇及朱漆梁柱窗。 」此建筑级别较高，结构华美，故所画应为官员之乡间四合院宅第。 李思训（六五一—七一八）唐宗室，字建，一字建景，甘肃天水人。 曾任左羽林大将军，玄宗即位开元初，官右武卫大将军。 注1 : 傅熹年，>1983年第11 期。注2 : 中国在木材面上涂饰起源很早，>「若作梓材… 其惟其涂丹 」所谓「白壁丹楹」、「朱柱素壁」。 唐代以前建筑色彩以朱、白两色为主，墙面一律用白色，木架部份一律用朱色。(林莉娜)