书体:

色彩:

水墨

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

作者印记：赐孤云处士章
鑑藏宝玺：乾隆御览之宝
收传印记：司印（半印）
收传印记：天籁阁
收传印记：神（重一）
收传印记：品（重一）
收传印记：桃里
收传印记：心赏（半印）
收传印记：项子京家珍藏（重一）
收传印记：项墨林鑑赏章
收传印记：檇李项氏士家宝玩
收传印记：世家（半印）
收传印记：墨林父（半印）
收传印记：项元汴印
收传印记：子孙（半印）
收传印记：□藏（半印）
收传印记：三韩蔡氏魁吾珍藏（重一）
收传印记：通志堂藏（重一）
收传印记：见阳子珍藏记
收传印记：东吴王莲泾藏书画记
收传印记：鸿儒
收传印记：子安珍藏记
收传印记：蕉林宝玩
收传印记：□躬堂藏纸记

题跋资料:

主题:

主要主题：建筑宫殿 主要主题：船龙舟 ；次要主题：建筑桥 ；其他主题：山水奇石 ；其他主题：山水江河、湖海江河；其他主题：人物侍从（侍女、童仆）侍从；其他主题：人物军士 ；其他主题：人物渔夫、船夫船夫；其他主题：人物百姓 ；其他主题：树木  ；其他主题：树木杨柳 ；其他主题：建筑回廊 ；其他主题：节令与二十四节气 三月三日金明池竞渡；其他主题：器用  ；其他主题：器用乐器 ；其他主题：器用旗 

技法:

工笔 界画 人物衣纹描法(减笔) 

参考资料:

收藏着录： 盛京故宫书画录，第三册，页21 收藏着录： 故宫书画录（卷四），第二册，页123 收藏着录： 故宫书画图录，第十七册，页207-210 参考书目： 1.林莉娜，〈元王振鹏龙舟图〉，收入林莉娜主编，《宫室楼阁之美 - 界画特展》（台北：国立故宫博物院，2000年初版），页106-107。 2.陈韵如，〈「界画」在宋元时期的转折：以王振鹏的界画为例〉，《国立台湾大学美术史研究集刊》，第26期(2009)，页135-192。 内容简介（中文）： 王振鹏(约1280–1329)，嘉定（今浙江永嘉）人，字朋梅，因画艺受知于元仁宗，赐号孤云处士，任职秘书监典簿，掌历代书画及图籍，为元代重要的界画家。此卷描绘金明池内、龙舟穿梭于台榭拱桥间的竞渡景象，以墨线疏密的变化与线条交叉的组合，表现建筑结构的体积与质感，所作白描墨线工整稳健，能以纤细笔意营造飞动的气势，斗栱类型虽多却无杂乱之感，为元代界画的典型。(20120714) 内容简介（中文）： 王振鹏(约活动于1280－1329)元成宗、顺帝时人，至正十年(1350)尚在。字朋梅，浙江永嘉(温州)人。受到元仁宗(1312－1320在位) 重用，号「孤云处士」，令其任职秘书监典簿，后累官至漕运千户。仁宗尚为皇太子时，曾进呈「龙池竞渡图」贺其生日，后皇姊大长公主(1283前后－1331)举行雅集又请他照画壹卷，今传世本多依据原迹摹制，此类题材本院共收有三卷。此卷描绘宋代皇室演习水军之处 – 金明池，宋徽宗(1101－1125在位)政和年间(1111－1117)于池内建殿宇，宝津楼为皇帝观看水戏争标之殿。池中心有拱桥，桥尽处建有一组殿堂﹐是皇帝游乐起居处及赐宴群臣的地方。 王氏是元代界画高手，专以墨线疏密、交叉各种线条变化，来区分建筑各部质感与体积，代替了前人设色或淡墨渲染的作法。此卷屋顶、斗栱、台阶、栏杆绘法多样且精准，保留了元代木建筑结构珍贵的资料。(林莉娜) 内容简介（中文）： 王振鹏（约西元一二八0 —一三二九年），嘉定人，官至漕运千户。最擅作宫殿楼阁等建筑界画，极得仁宗赏识，赐号孤云处士。界画极工致，能于笔致纤细中，不失飞动的气势。本幅画大、小龙舟穿梭在台榭拱桥间竞渡的情景，均匀的线条，巨细靡遗地描绘出景物的细节，笔笔工整稳健，显见作者界画的功力。卷前右下有千字文第六二四「亭」字编号，幅间钤有项元汴「天籁阁」诸印。 内容简介（中文）： 王振鹏(1275- 1328), 浙江永嘉人, 字朋梅, 仁宗朝(1311-1320)赐封孤云处士. 任职于秘书监典簿, 后累官至漕运千户.图绘金明池争标景象, 宝津殿筑于砖石台基上, 前为临水木柱基座, 四周全用平坐. 斗栱式样多而且绘法精准, 兼用下昂、上昂, 并有补间铺作. 元代补间与柱头斗栱较宋突出, 已无出跳位置不等的早期特点. 柱头上皆施阑额和普拍枋, 转角柱出头处垂直截取, 仍沿辽代旧规. 中段歇山顶殿亭采「减柱造」, 设月梁及垂莲柱, 柱身比例高大, 室内空间显得宽敞.(林莉娜) 内容简介（中文）： 王振鹏（约西元一二八○—一三二九年），嘉定人。字鹏梅，受知仁宗，赐号孤云处士。善界画，妙在运笔和墨，毫分发析，左右高下，俯仰曲折，方圆平直，曲尽其体，而神气飞动，不为法拘。本幅画大、小龙舟穿梭在台榭拱桥间竞渡的情景，均匀的线条，巨细靡遗的描绘出所有景物的细节，笔笔工整稳健，显见作者界画的功力。 内容简介（英文）： Wang Chen-p'eng, a native of Yung-chia, served under Emperor Jen-tsung at court. He excelled at ruled-line painting, using the brush to render steady strokes as fine as hair. Regardless of the view, the forms in his works appear complete and solid. The spirit of his style, however, was unhampered by this technique.This work shows large and small dragon boats engaged in a regatta by a pavilion. Not a single detail is missing from the scene as the brushwork is exceptionally fine and steady, thus clearly revealing the accomplished skill of the artist in the technique of ruled-line painting. 内容简介（英文）： Wang Cheng-'eng, a native of Chekiang, served as an official, though he is probably best known for his meticulous ruled-line paintings. This is an interpretation of a regatta once held at the Chin-ming Pond in front of the Pao-chin Hall (at the far left), where a pennant indicates the end of the race. This handscroll reveals a large variety of detailed brackets with tips pointing up and down. In Yuan paintings, the number and height of brackets were increased, creating for detail and complexity. A building at the right features "column elimination," which involves cutting off the lower parts of select columns. Here, they are supported with crescent beams and decorated. Unhindered space can thus be created. 内容简介（英文）： Wang Zhenpeng, a native of Jiading, rose to become Commander of the Transport Office. Excelling at palace pavilions and towers using ruled-line painting, he was highly appreciated by Emperor Renzong (Buyantu Khan), who presented him with a sobriquet. His ruled-line works are quite refined and, despite the precise brushwork, do not lack liveliness. This work depicts large and small dragon boats in magnificent tower and arched bridge scenery. Even lines depict all the details, each stroke exact and steady, reflecting the artist’s ruled-line skill. In the lower right part is the character “ting 亭,” the 624th in the “Thousand Character Classic.” In addition to this accession number of Xiang Yuanbian are his seals from the Hall of Heavenly Sounds. 内容简介（英文）： Wang Zhenpeng, a native of Jiading (modern Yongjia, Zhejiang), had the style name Pengmei. Recognized for painting by Emperor Renzong, he was awarded the sobriquet Guyun chushi. He served as Archivist in the Palace Library in charge of illustrations, paintings, and calligraphies, also being an important “ruled-line” painter. This handscroll is a pavilion-and-bridge scene of a dragon boat race on Lake Jinming. Done in varying densities of ink lines to form groupings, they reveal the form and substance of the architecture. The baimiao ink lines are steady and meticulous, but the fine brushwork still creates a dynamic force. The numerous columns and brackets do not appear chaotic, making this a classic example of Yuan dynasty ruled-line painting.(20120714) 网页展示说明 王振鹏（1275-1328）浙江永嘉人，字朋梅，仁宗朝（在位1311-1320）受宠赐封孤云处士。王振鹏因画艺受知于元仁宗，令他任职于秘书监典簿( 元代掌管书画及历代图籍的主要机构。 王氏是元代最重要的界画家，其风格特色为准确与细致。作品迎合皇室的需要，直接以宫廷建筑为主题，专用墨线白描法画建筑，并以墨线深浅、疏密、平行、交叉之不同，来区分建筑各部的质感、材料和体积感，代替以前的设色或淡墨渲染的画法。 卷左主殿屋顶为十字脊重檐歇山式，正中有火燄宝珠装饰。殿顶鸱吻、瓦陇、脊兽完备，精巧富丽。画中主殿四周全用平坐，另有平坐立在水中作为水上平台和水上建筑的基座，可以绕圈行走。此图斗栱形式多样且绘法精准，类型虽多却无杂乱之感。主殿在当心间用两至三朵补间铺作，次、梢间用一至两朵。元代补间斗栱与柱头斗栱较宋更突出，已无出跳位置不等的早期特点。 殿之内外柱头上，皆施阑额和普拍枋至角出头，并加饰脚。元代的柱比宋代细长，柱高在建筑总高中所佔比例增大。卷之中段歇山顶殿前凉亭原有两排柱子，殿内柱子大量减去，紧挨主殿装设两个月梁及一个垂莲柱，支撑轩的屋顶，室内空间显得宽敞，改善室内采光效果，此乃「 减柱造 」，在元代常用。 水上台基是此卷全部建筑物的基础，四角转角处有角石、角柱石，四周沿边上面平铺压阑石，中央是踏道，由花砖或整石雕成的斜面，刻满龙凤纹样的御路，富丽尊贵，是皇宫才适用。 王振鹏根据宋孟元老>所载，描绘宋太宗太平兴国七年（ 982 ）于东京争标演习水军景象，对金明池中建筑物描写淋漓尽致，宝津楼是皇帝观看争标赐宴的所在。元仁宗尚是皇太子生日王振鹏进呈「龙池竞渡图」为贺，过十年多至治癸亥（1323），皇姐祥哥剌吉皇姊大长公主（1283前后-1331）举行雅集请他照画一卷，今传世本都是根据原迹忠实仿制。「 龙舟图 」白描未施墨染，用笔疏简随意，是未完成的样稿，或许是「龙池竞渡图」原画样本。 (林莉娜) 网页展示说明 Wang Cheng-p'eng, a native of Chekiang, was bestowed with a sobriquet by Emperor Jen-tsung (1312-1320). Though he eventually went on to serve as Grain Transport Commissioner, he is probably best known for his meticulous ruled-line paintings. This is an interpretation of a regatta that was once held at the Chin-ming Pond in front of the Pao-chin Hall (shown at the far left with a cross-shaped roof), where the banquet was held and in front of which is seen a pennant in the water indicating the end of the race. The large terrace in front of the hall extends over the water and is supported by numerous columns underneath. The hall itself is surrounded by an open area. This handscroll reveals a large variety of brackets painted with great detail, and the cantilever tips in the bracketing point up as well as down. In Yuan dynasty paintings of buildings, the number and height of brackets were increased, creating for an exceptionally intricate and complex scene. A lintel and topping lintel (p'u-po fang) are shown above the columns as they decoratively protrude from the corners. The first main building from the right features "column elimination," which involves cutting off the lower parts of select columns. Here, they are supported above with crescent beams and bear lotus designs. Combined with the large timber of the columns, unhindered space can thus be created. 研究性论着： 王振鹏(1275- 1328)浙江永嘉人, 字朋梅, 仁宗朝(1311-1320)受宠赐封孤云处士. 王振鹏因画艺受知于元仁宗, 令他任职于秘书监典簿( 元代掌管书画及历代图籍的主要机构 ) 得遍观古图书, 后累官至漕运千户, 总理海运于江阴常熟之间. 其作品迎合皇室的需要, 直接以宫廷建筑为主题, 专用墨线白描法画建筑, 并以墨线深浅、疏密、平行、交叉之不同, 来区分建筑各部的质感、材料和体积感, 代替以前的设色或淡墨渲染的画法. 王氏是元代最重要的界画家, 其风格特色为准确与细致. 元代虞集在为其父所撰墓志铭中称他的画艺是「运笔和墨, 毫分缕析, 左右高下, 俯仰曲折, 方圆平直, 曲尽其体, 而神气飞动, 不为法拘.」主殿屋顶为十字脊重檐歇山式, 正中有火燄宝珠装饰. 殿顶鸱吻、瓦陇、脊兽完备, 精巧富丽. 画中主殿四周全用平坐, 平坐立在水中作为水上平台和水上建筑的基座, 可以绕圈行走. 此图斗栱形式多样且绘法精准, 根据每种斗栱特殊之用途而异其形制, 或承檐、 承平坐、 承梁枋, 或在柱头转角补间, 类型虽多却无杂乱之感. 主殿只在明间用两朵补间铺作, 次、梢间都用一朵. 上层平坐用上昂, 上昂作用是增加铺作高度, 减少挑出深度, 用于平坐外檐外跳. 上昂构造实物遗存很少, 元代建筑中偶而使用, 此为珍贵资料. (注 1)元代补间斗栱与柱头斗栱较宋更突出, 已无出跳位置不等的早期特点. 殿之内外柱头上, 皆施阑额和普拍枋, 普拍枋的使用在元代很普遍, 且多已随阑额一道至角出头, 并加饰脚. 殿堂转角处角柱上阑额出头处, 垂直截取, 仍沿辽代旧规, 有利于结构的紧固.(注 2) 元代的柱比宋代细长, 柱高在建筑总高中所佔比例增大. 卷之中段歇山顶殿前凉亭原有两排柱子, 殿内柱子大量减去, 紧挨主殿装设两个月梁及一个垂悬莲柱, 支撑轩的屋顶, 室内空间显得宽敞, 改善室内采光效果, 此乃「减柱造」, 在元代常用. 垂莲柱此种构件在主体结构上没有多大承重作用, 但对外檐装饰却有丰满壮丽的效果. 台基是此卷全部建筑物的基础, 四角转角处有角柱石, 四周沿边上面平铺阶条石, 中央是慢道, 由花砖或整石雕成的斜面, 刻满龙凤纹样的御路, 富丽尊贵, 是皇宫才适用. 装修是房屋、门窗、户牖等小木作的总称, 此图所绘为菱花格扇(宋称格子门) 门扇分为格眼、障水板与腰华板三个部份.(林莉娜)