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明神宗万历四十四年（1616）文字类型:
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鑑藏宝玺：乾隆御览之宝题跋资料:
题跋类别：作者款识；作者：李士达；题跋位置：本幅；款识：万历丙辰（西元一六一六年）秋写。吴郡李士达。；书体：行书；全文： 印记：李士达印、通甫主题:
主要主题：人物高士（士人、隐士）1人主要主题：树木松4株主要主题：人物侍从（侍女、童仆）4人；次要主题：山水 ；次要主题：花草灵芝 ；其他主题：山水江河、湖海 ；其他主题：器用饮食器 ；其他主题：器用香炉．火盆火盆；其他主题：器用扇 ；其他主题：器用文玩（琴棋书画）书技法:
工笔 写意 皴法披麻皴人物衣纹描法(匀称线条) 苔点参考资料:
收藏着录： 石渠宝笈续编（第一册），页434 收藏着录： 故宫书画录（卷五），第三册，页452 收藏着录： 故宫书画图录，第九册，页21-22 参考书目： 1.何传馨，〈明李士达坐听松风〉，收入何传馨、许郭璜编，《夏景山水画特展图录》（台北：国立故宫博物院，1991年七月初版），页104-105。 内容简介（中文）： 李士达（西元十七世纪），号仰怀，姑苏人（现江苏吴县）。四棵高耸虬松，松下一士人双手抱膝靠石而坐；二童子于茶炉前煽火烹茶，一蹲坐开解书卷，另一则于坡边采芝。坡石上置有风炉、黄泥茶壶、朱漆茶托、白瓷茶盏、以及水甕等茶器。明人画独饮场景，或于草堂园林、或山林泉畔，意境幽美，远离尘嚣，品茗为乐。此画设色清丽古朴，墨与色谐和，而朱红茶托点缀，恰有画龙点睛之妙。 内容简介（中文）： 李士达（西元十七世纪），号仰怀，姑苏人（现江苏吴县）。山水人物画得很好。对画的见解，体会的也很深。他说山水五美五恶。五美是指苍、逸、奇、远、韵。五恶是指嫩、板、刻、生、癡。 这幅画，四棵老松，松枝偃仰，山水幽清。一人抱膝坐松石间，作凝目谛听的样子。四个童子各有所事：一个正在采芝，一个用巾捲着手卷的字或画，另外两个，一在烹茶，另外一侍立于旁。笔墨清奇，不袭前人风格，很有创见。 内容简介（中文）： 李士达（约西元一五五○─一六二一年），号仰怀，吴县人（今江苏苏州）。万历二年（一五七四）进士，善作山水，于画理亦有研究，曾论山水有五美、五恶，见解独具。 本幅画虬松四株，枝枒偃仰，景境幽奇。一文人抱膝坐松石间，作凝目谛听状。二童子于炉前煽火烹茶，一蹲坐解开书卷，另一则于坡边采芝。通幅设色清丽古朴，置陈布势，绝不蹈袭前人风格，极富创意。(20121016) 内容简介（英文）： Li Shida (sobriquet Yanghuai), native to Wuxian (modern Suzhou, Jiangsu), was a Presented Scholar of 1574 who excelled at landscape painting. Also learned in painting theory, he proposed unique ideas on the five merits and five defects in depicting landscapes. This work depicts 4 tall pines with canopies extending downwards in an unusual and secluded scene. A scholar underneath sits and clasps his knees gazing and listening carefully. Two attendants are by a tea stove with one fanning flames to brew tea. Another crouches in front of a bundle of scrolls, and the other picks fungi by a slope. The pure and archaic colors here harmonize with everything carefully arranged. Not following convention, Li Shida demonstrates great creativity.(20121016) 内容简介（英文）： Li Shih-ta, sobriquet Yang-huai, was a native of Ku-su in present Kiangsu. Both his landscape and figure paintings are excellent; his opinions and comprehension of painting were very deep. He wrote of the five merits and five defects in painting landscapes: the five merits are defined as hoariness, ease, eccentricity, profoundness, and harmony; the five defects being weakness, stiffness, insensitivity, crudeness, and foolishness. The painting portrays four old pines, with branches bending down, in the midst of a pure and desolate landscape. One figure sits, arms around his knees, surrounded by pines and rocks. His eyes and ears seem fixed in concentration. Four servant boys are engaged in different activities. One is picking fungus, a second is wrapping a bundle of handscrolls in cloth, a third is making tea, and the last is simply standing in waiting. The brushwork is pure and unusual, not following earlier styles, and possessing great originality. 内容简介（英文）： Li Shih-ta, native to Soochow, did this work of 4 tall cypresses with a scholar underneath sitting as he clasps his knees. Two attendants are by a tea stove with one fanning flames to brew tea. Another crouches in front of a rolled bundle of scrolls and the other picks fungi by a slope. On the rocks are an open stove with a yellowish clay teapot, a red-lacquered tea bowl stand, white-glazed teacups, and a water container. Ming painters depicted solitary scenes of drinking tea either in garden huts or by wooded streams. Serene settings far from the bustle of towns and cities echoed the purity of tea. The archaic colors here harmonize with the ink tones, yet the red stand stands out enough to draw attention to the material aspects of Ming tea culture.
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