书体:

色彩:

设色

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅绢对幅绢

释文:

印记资料:

收传印记：仲明珍玩（爵形印）
收传印记：张则之
收传印记：蕉林玉立氏图书
收传印记：棠邨审定

题跋资料:

题跋类别：题签； 裱纸 ；书体：楷书；全文：李赞华射骑图。

题跋类别：题跋；作者：柯九思对幅 ；书体：行楷书；全文：氊帐雪花寒。单于夜不还。分弓传令肃。明日猎天山。敬仲题。印记：柯氏敬仲、丹丘生、锡训堂章

题跋类别：题跋；作者：杨维祯对幅 ；书体：行书；全文：歇马长楸间。黄颠老契丹。手撚白羽箭。鵰血带斓斑。廉夫。印记：杨维祯印、廉夫、铁笛道人

主题:

主要主题：人物蕃族猎人一人主要主题：走兽马 ；其他主题：器用耕织渔猎猎（弓。箭。箭袋）；其他主题：器用马鞍马鞍。辔络；其他主题：器用服饰（对人）帽；契丹服

技法:

工笔 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2499 收藏着录： 故宫书画录（卷六），第四册，页185 收藏着录： 故宫书画图录，第二十九册，页192-197 参考书目： 1.马孟晶，〈李赞华射骑图〉，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273- 275。2.林柏亭、张华芝，〈五代后唐李赞华射骑图〉，收入林柏亭、张华芝编，《画马名品特展图录》（台北：国立故宫博物院，1990年元月初版），页82-83。 内容简介（中文）： 本幅无款，历来传称为辽李赞华的作品。他是契丹皇族出身，以绘契丹的贵族与鞍马而闻名。画中线条除具备描绘实物的功能外，优雅微妙的粗细变化更营造出韵律感，从构图单纯、突出笔墨、以及表现人物之个别性的特征上，都更接近于李公麟的风格。本幅作品呈现的虽可能是契丹人马，却绝非出自十世纪初的李赞华之手，其成画年代应不早于李公麟所在的北宋晚期，且曾经过汉族绘画传统的浸染。(20061206) 内容简介（中文）： 李赞华，本契丹人。辽太祖长子，名突欲。后唐长兴二年（九三一）投奔中国，明宗赐姓李，名赞华。善绘其本国之人物鞍马。本幅绘武士腰弓手箭，立于马前，郭若虚图画见闻志尝云：「多写贵人酋长，胡服鞍勒。率皆珍华，然马尚丰肥，笔乏壮气。」盖唐朝之后用笔有趋于细劲之倾向。 内容简介（英文）： A warrior armed with bow and arrows stands before his mount. The critic Kuo Jo-hsü (fl. 11th century) in his Record of Observances in the Realm of Painting once said of Li Tsan-hua that "he mostly depicts nobles and chieftains in the attire and appointments of the people of the North. In most respects his works are exquisite, but his horses tend to be paunchy and his brushwork lacks strength." The latter comment points to the post-T'ang tendency toward a refined, delicate style.Li Tsan-hua, a Khitan, was the eldest son of the founder of the Liao dynasty (907-959). Originally named T'u-yü, he fled south to China in 931 and was given the name Li Tsan-hua by the emperor Ming-tsung (r. 925-933) of the Later T'ang. Li excelled at depicting the people and horses of his native land. 内容简介（英文）： This unsigned painting was traditionally attributed in the past as by Li Tsan-hua of the Liao dynasty. A member of the Khitan imperial clan, he achieved fame in painting Khitan nobility and saddled horses. The lines in this painting, in addition to having the function of description, also elegantly and delicately vary between fine and coarse to create an aesthetic sense of rhythm. The simple composition, outstanding use of brush and ink, and individualistic representation of the figures all appear to be close to the style of the Northern Sung artist Li Kung-lin. The subject of the painting, even though it may be a Khitan on horseback, almost certainly does not come from the hand of the early 10th century artist Li Tsan-hua. In fact, the dating of the painting is probably not earlier than Li Kung-lin of the late Northern Sung, and it also reflects the influence of Chinese painting traditions.(20061206)