书体:

色彩:

浅设色

装裱形式:

册(折装‧团扇式)

创作时间:

文字类型:

质地:

本幅绢对幅纸

释文:

印记资料:

收传印记：虚谷
收传印记：妙品（瓢形印）
收传印记：（亚形印一不辨）

题跋资料:

题跋类别：题签；    李唐大江孚玉

题跋类别：题跋；作者：清仁宗对幅 ；书体：楷书；全文：御笔分题行书（嘉庆甲子新正上濣。诗文不录）印记：谦受益、笔华春雨

主题:

主要主题：山水  ；其他主题：山水江河、湖海 ；其他主题：人物行旅 ；其他主题：树木  ；其他主题：树木寒林．枯树寒林；其他主题：建筑台阁 ；其他主题：建筑房舍 ；其他主题：建筑寺庙 ；其他主题：船  ；其他主题：船客舫 

技法:

工笔 写意 皴法 皴法卷云皴人物衣纹描法(减笔) 

参考资料:

收藏着录： 故宫书画录（卷六），第四册，页217 收藏着录： 石渠宝笈三编（圆明园清晖阁），第八册，页3650 收藏着录： 故宫书画图录，第二十九册，页266-275 参考书目： 1.许郭璜，〈宋人大江浮玉〉，收入《李郭山水画系特展》（台北：国立故宫博物院，1999年初版），页27-30。2.许郭璜，〈李唐大江浮玉〉，收入国立故宫博物院编，《宋代书画册页名品特展》（台北：国立故宫博物院，1995年初版一刷），页254-255。3.许郭璜，〈「七十件书画册页名品特展」精选(二) — 李唐大江浮玉〉，《故宫文物月刊》，第147期（1995年6月），页103-105。 内容简介（中文）： 大江波涛汹湧，近处船坞，两艘江船联泊。江中岛屿特起，巨石数点，与主山相呼应，林树、寺宇、浮图等描写，莫不精细。全幅笔墨近似郭熙「早春图」；而结构细碎情形，又类似宋徽宗「溪山秋色」图。或系宣和绍兴间（一一一九－一一六二）宗郭熙所作。本幅为「集古名绘」册第九幅。无名款，旧标李唐作。 内容简介（中文）： 大江之中，波涛汹湧。近处作船埠，两人相将上船，江船两艘联泊于此。稍右高起两石，一石上瓦屋在焉，馀则枯树数株而己。江心中岛屿特起，树木、寺宇、浮图，林林总总，工细之甚。环岛巨石数点，与主山相呼应。细察笔墨，与郭熙「早春图」甚接近；而结构细碎情形，又似宋徽宗「溪山秋色」图。或系宣和时郭熙一派。无名款。旧标李唐作。本幅为「集古名绘」册第九幅。 李唐（约西元一O四九－一一三O年后），河阳人，字晞古。善山水人物，笔意不凡。 内容简介（英文）： Large waves toss about on a wide river. In the foreground, two men are about to board one of the two boats moored at a market town. Just to their right rise two hills, one topped by a tile-roofed building and the other simply bearing a few trees. Islands rise from the heart of the river, and on them trees and temple buildings are crowded together, rendered in minute detail. Several rounded rocky islets echo the form of the major peak. Careful examination reveals that the brushwork here is quite close to that of “Early Spring” by Kuo Hsi (act. 11th cent.), while the fragmented composition recalls “Autumn Colors among Streams and Mountains” by emperor Hui-tsung (1082-1135). Thus, it may be a work in the Kuo Hsi tradition executed during the Hsüan-ho era (1119-1125). It is not signed but is attributed in its label to Li T’ang, who depicted landscapes and figures in an extraordinary manner. This is the ninth leaf from the album Chi-ku ming-hui. 内容简介（英文）： The waves of a large river lap at the shores of rocky outcroppings. Two river boats are moored in the foreground as a peak rises in the center of the painting and is surrounded by complementary rocks. Trees and temple buildings punctuate the mountain, providing descriptive details. The use of brush and ink is similar to those in Kuo Hsi's Early Spring, while the spacious composition is related to Autumn Colors over Streams and Mountains by Hui-tsung. Perhaps this work was done by a follower of Kuo Hsi in Hui-tsung's Hsüan-ho era (1119-1125).This is the 9th leaf from the album Collected Famous Paintings. Bearing no seal or signature, it was attributed to Li T'ang, a 12th-century court painter famous for axe-cut texture strokes. 网页展示说明 李唐（约1049？1130后），河阳三城人，字晞古，善画山水人物，笔意不凡，喜作长图大幛，石用大斧劈皴，水不用鱼鳞縠纹，有盘涡动荡之势。北宋徽宗在宣和画院?担任画师，北宋灭亡后，与弟子萧照一同流亡到南宋国都临安（今浙江杭州），以卖画维生，南宋高宗建炎年间，以太尉邵渊推荐，重新进入画院，任职待诏，时年近八十。 画大江中，岛屿屹立，岸边风涛环绕，似有飞动之势，岛上宝塔寺宇，描写精工细巧，清润可爱。以结构来看，画虽小，仍是以北宋主峰鼎立于中央之格式布列，但其风格与李唐刚健硬拔的画法不同，倒比较接近郭熙秀润的气象，如岛屿主峰的轮廓线条转顿起伏甚大，接近郭熙早春图近景的巨石，全图的笔墨清润，与早春图峰峦隐显，云烟变幻之态无分轩轾。因此若以笔墨及风格来看，可能是宣和绍兴间（1119？1162）属郭熙一派画家的杰作。 网页展示说明 The waves of a large river lap at the shores of rocky outcroppings. Two riverboats are moored in the foreground as a peak rises in the center of the painting and is surrounded by complementary rocks. Trees and temple buildings punctuate the mountain, providing descriptive details. The use of brush and ink is similar to those in Kuo Hsi's Early Spring, while the spacious composition is related to Autumn Colors over Streams and Mountains by Hui-tsung. Perhaps a follower of Kuo Hsi did this work in Hui-tsung's Hsuan-ho era (1119-1125).This is the 9th leaf from the album Collected Famous Paintings. Bearing no seal or signature, it was attributed to Li T'ang, a 12th-century court painter famous for axe-cut texture strokes.