| 【類別】 | 【參考資料】 |
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收藏著錄
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故宮書畫錄（卷四），第一冊，頁2
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收藏著錄
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故宮書畫圖錄，第十五冊，頁283-288
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參考書目
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1.〈宋李公麟山莊圖〉，收入國立故宮博物院編輯委員會編，《園林名畫特展圖錄》（臺北：國立故宮博物院，1987年十月初版），頁70。
2.陳韻如，〈宋李公麟山莊圖 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96-101。
3.何傳馨，〈明李東陽題李公麟山莊圖〉，收入何傳馨編，《書法之美特展圖錄》（臺北：國立故宮博物院，1992年五月初版一刷），頁79。
4.陳媛，〈帝國的回憶 國立故宮博物院瑰寶赴法展專輯一 — 李公麟山莊圖〉，《故宮文物月刊》，第185期（1998年8月），頁28-29。
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參考書目
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何炎泉，〈宋李公麟山莊圖 卷〉，收入余佩瑾主編《品牌的故事-乾隆皇帝的文物收藏與包裝藝術》（臺北：國立故宮博物院，2017.12），頁154-157、310。
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內容簡介（中文）
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本幅為墨畫山水，無款識。舊傳為李公麟山莊圖卷。
畫上有發真口、薌茅館、瓔珞巖、棲雲室、秘全庵、延華洞、雨華巖、泠泠谷、玉龍峽、觀音巖、垂雲 片、古柳其大十圍、在建德館南三百步、寶華巖等標名，蓋圖景寫實以狀泉石草木，與李公麟龍眠山莊圖卷各景相彷彿。
按李公麟買山築室建龍眠山莊於元豐丁巳( 1077)，二十四年後於元符三年(1100)為御史檢法，病痺，乃歸老龍眠山)。龍眠山莊圖出，蘇軾有文識之，謂：「見山中泉石草木，不問而知其名。」惟真本恐已亡軼，存世者多為龍眠山莊圖之摹本。(註1)
李公麟(1049-1106)舒州人，字伯時，號龍眠居士。熙寧中進士，官至朝奉郎。博學精識，書畫俱極擅長。寫人物能分別狀貌，使人望而知何種人，又兼工佛道及畫馬。仕宦三十年，未嘗一日忘山林。當時論者謂其文章則追建安，書法則宗晉宋，人物之畫則效顧陸。而其瀟灑如王維，山莊圖則可以對輞川圖也。
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內容簡介（中文）
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李公麟（－O四九－一一O六)，舒州人，字伯時，號龍眠居士。熙寧中進士。（－O六八－一O七七）元符三年（一一OO）致仕，歸老龍眠山。博學精識，善山水人物，集先代之長，而自成一家。寫人物能分別狀貌，使人望而知何種人。又留意畫馬，每欲畫常先觀群馬以識其變態。又工畫佛道。
本幅為墨畫山水，畫上標出山莊中各景，按龍眠山莊建於元豐丁巳（－O七七)，買山築室於歸隱前二十四年。龍眠山莊圖出，蘇軾即謂「見山中草木，不問而知其名。」
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內容簡介（中文）
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李公麟（西元一○四九─一一○六年）字伯時，號龍眠居士，安徽舒城人。擅畫山水人物。〈山莊圖卷〉繪於熙寧十年（一○七七），描繪作者與友人們於故里舒州龍眠山莊，賞景清談、品茗雅集的情景。山莊內風景絕佳，侍僮分組烹泉煮茶。由於是野外點茶，因此風爐、都籃（挑盒）皆附提梁，方便提梁。畫上的方形茶爐、都籃、茶盞、茶托，都是宋代形制，可作為宋代茶器之參考。
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內容簡介（中文）
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李公麟（1049－1106），號龍眠居士，安徽舒州人，喜收藏文物，善繪人馬山水，是北宋文人藝術家。〈山莊圖〉有多本流傳，此為其中之一。依蘇轍（1039－1112）〈題李公麟山莊圖〉二十首詩，得知畫中墨書，為山莊二十景之稱；此卷各景雖與詩文略有脫錯，但仍可掌握李公麟與友人暢遊其間的情景。 全卷白描筆墨質樸，畫中細節處處，又有幾何化山水造型，為李公麟的造景創意所在。其中人物的細膩互動，亦可說由唐代王維〈輞川圖〉發展而來的莊園山水，至此亦深化於文人生活。(20061206)
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內容簡介（英文）
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Li Kung-lin, style name Lung-mien chu-shih, was a native of Shu-chou in Anhwei and a scholar-official. A Northern Sung literati artist, he was an avid collector of antiquities and also excelled at painting figures, horses, and landscapes. This work is one of several versions extant in various collections. According to the twenty poems entitled “Inscribed on Li Kung-lin's Painting of Mountain Villa” by Su Che (1039-1112, brother of the literary great Su Shi), the painting was done in ink and named after the twenty views around the mountain villa. Although a slight discrepancy exists between the various scenes in this handscroll and the poetry, it nevertheless betrays a firm grasp of the relationship between Li Kung-lin and his friends. The entire handscroll was done in the plain “pai-miao” (outline) manner of brush and ink. The painting is detailed everywhere, and the geometric treatment of landscape forms reveals Li Kung-lin's innovative creation of scenery. The subtle interaction of the figures can be regarded as a development on the manor landscape associated with the painting of the “Wang-ch’uan Villa” by Wang Wei in the T'ang dynasty, and by this point in the Sung dynasty it had taken root in literati life.(20061206)
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內容簡介（英文）
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Li Kung-lin (sobriquet, “Recluse of Sleeping Dragon”), a native of Anhwei Province, specialized in landscape and figure painting. “Mountain Retreat” was done in 1077 as a record of the artist’s elegant conversations, trips to scenic spots, and tea-tasting and elegant gatherings with friends at his Sleeping Dragon Mountain Villa in his hometown of Anhwei. In the beautiful scenery around the villa, attendants in groups are shown preparing tea. In one of these outdoor tea gatherings near the middle, a fan-flamed stove and baskets (boxes with pole) are shown with handles for easy transport. The square tea stove, basket, tea bowls, and tea bowl stands are all in the Sung style, making this work an important reference for material aspects of tea culture then.
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內容簡介（英文）
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This ink landscape depicts Li Kung-lin's mountain retreat on Dragon's Sleep Mountain (in northwest T'ung-cheng County, Anhwei Province), from whence Li acquired his sobriquet "recluse of Dragon's Sleep Mountain." Scenes of particular interest are noted in Chinese characters on the painting itself. Su Shih (1037-1101), the noted man of letters, said upon seeing the painting that "just by seeing the grasses and trees on the mountain, one knows without asking what place it is." Li Kung-lin bought the area on Dragon's Sleep Mountain and constructed buildings on it in 1077; when he left office in 1100 he retired there to live a life of peaceful seclusion.
Li Kung-lin, a native of Shu-ch'eng, Anhwei, excelled at painting landscapes, figures, horses, and Buddhist and Taoist subjects. Incorporating the finer points of ancient painting into his own repertoire, he developed his own school of painting.
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