| 【類別】 | 【參考資料】 |
|
收藏著錄
|
石渠寶笈續編（畫禪室），第七冊，頁3621
|
|
收藏著錄
|
故宮書畫錄（卷四），第二冊，頁43
|
|
收藏著錄
|
故宮書畫圖錄，第十六冊，頁133-137
|
|
參考書目
|
1.許郭璜，〈宋李唐江山小景〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁96-99。
2.何傳馨，〈宋李唐江山小景〉，收入何傳馨、許郭璜編，《夏景山水畫特展圖錄》（臺北：國立故宮博物院，1991年七月初版），頁92-93。
3.陳韻如，〈宋李唐江山小景 卷〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁106-109。
4.陳階晉，〈宋李唐江山小景〉，《故宮文物月刊》，第300期（2008年3月），頁24-25。
5.鈴木敬，魏美月譯，〈試論李唐南渡後重入畫院及其畫風之演變(上)〉，《故宮季刊》，第十七卷第三期（1983年春），頁57-74。
6.倪再沁，《李唐山水畫之研究》，中國文化學院藝術研究所碩士論文，1980年。
7.陳韻如，〈江山小景〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁355-356。
8.廖堯震，〈微醺西湖畔，對影六七幅 南宋小景山水的詩情畫境〉，《典藏古美術》，第217期(2010年10月)，頁102-109。
9.陳韻如；〈兩宋山水畫意的轉折──試論李唐山水畫的畫史位置〉，《故宮學術季刊》，第二十九卷第四期（2012年夏），頁75-107。
|
|
參考書目
|
陳韻如，〈宋李唐江山小景 卷〉，收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》（臺北：國立故宮博物院，2016.10），頁32-41、257-259。
|
|
參考書目
|
何傳馨，〈宋李唐江山小景 卷〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁172-175、355-356。
|
|
參考書目
|
國立故宮博物院編輯委員會，〈宋李唐江山小景 卷〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁96-99。
|
|
內容簡介（中文）
|
李唐（約1070－1150），字晞古，河陽（河南孟縣）人，徽宗朝任職畫院，南渡後紹興年間再入高宗畫院。 此畫為仿唐代李思訓之作，林木遠山和建築都用石青設色，點苔用泥金，水紋以魚網形畫成，顯見有意的復古。山石仍以斧劈皴定型，少了一分〈萬壑松風〉的雄奇，卻更見南方山水的婉約。手卷形式展開橫向構圖，以及對江水天空「虛靈」的強調，為南宋院畫開啟了新方向。(20061206)
|
|
內容簡介（中文）
|
此畫無款，依卷後明人題稱李唐，繪一連續山石坡岸。以細勁墨線描寫山石輪廓，再以墨染形塑體積；其間添有短線表現塊面質感，但不見格式化的斧劈皴。這類筆墨特色，未至南宋畫院風格成熟階段。原稱作者為李唐，然用筆較為尖細，與〈萬壑松風圖〉的筆墨特色略有距離。卷中兼採青綠、水墨技巧，延續北宋後設色手法，並保留對於豐富物象的掌握興趣，屬南宋馬夏風格出現以前作風。(20101015)
|
|
內容簡介（英文）
|
This work depicting a continuous scene of mountains and banks is unsigned, but at the end is a later Ming dynasty inscription that ascribes it to Li Tang. Thin yet powerful strokes of ink delineate the outlines of the rocky landscape forms, to which shades of ink washes have been added for modeling and volume. Furthermore, short lines express the texture of the rock facets, but they are not formulaic “axe-cut” strokes. This characteristic of brush and ink had not reached the stage of maturity found in the style of the Southern Song Painting Academy.
Though originally ascribed as by Li Tang, the brushwork is sharper and finer, being slightly removed from the use of brush and ink in Li’s “Wind in Pines Among a Myriad Valleys.” This handscroll also features techniques of blue-and-green coloring and monochrome ink that continue in Northern Song traditions. Retaining a control of and interest in the richness of forms, this work belongs to the Southern Song style from the late twelfth century, prior to the court masters Ma Yuan and Xia Gui.(20101015)
|
|
內容簡介（英文）
|
Li T'ang, style name Hsi-ku, was a native of Ho-yang (modern Meng-hsien, Honan). He entered the Painting Academy under Emperor Hui-tsung (r. 1101-1125). After the fall of the north, he traveled south and rejoined the Painting Academy in the Shao-hsing era (1131-1162) of Emperor Kao-tsung. This work was done in imitation of the style of the T’ang dynasty painter Li Ssu-hsun. The trees and distant mountains along with the buildings were done in washes of malachite blue, while the dots were accentuated with gold pigment. The water ripples were painted in “fish-net” forms, further highlighting the overall archaic effect. The mountain forms, however, are still in the formalized manner of “axe-cut” texture strokes associated with Li T'ang, but lacking to some degree the outstanding majesty of those in his “Windy Pines Among a Myriad Valleys”. Rather, this work has more of the grace and restraint of southern landscapes. The handscroll format, presenting the composition in a horizontal manner, here emphasizes the “void” of the water and sky to offset the solid mountain forms, thus presaging a new direction in the Painting Academy of the Southern Sung.(20061206)
|