书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
收传印记：筠菴
收传印记：吴氏全节
收传印记：南阳家藏

题跋资料:

题跋类别：作者款识；作者：李昭道；题跋位置：本幅；款识：李昭道画 

主题:

主要主题：山水  ；其他主题：山水石磴、栈道 ；其他主题：山水江河、湖海 ；其他主题：人物高士（士人、隐士） ；其他主题：人物仕女 ；其他主题：人物侍从（侍女、童仆） ；其他主题：人物行旅 ；次要主题：树木松 ；其他主题：树木竹 ；其他主题：树木杨柳 ；其他主题：花草梅（白．红．蜡梅） ；其他主题：走兽马 ；其他主题：建筑台阁 ；其他主题：建筑桥 ；其他主题：建筑栏杆 

技法:

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页2-3 收藏着录： 故宫书画图录，第一册，页11-12 参考书目： 1.国立故宫博物院编辑委员会，〈唐李昭道湖亭游骑〉，收入国立故宫博物院编辑委员会编，《界画特展图录》（台北：国立故宫博物院，1986年初版），页54。 内容简介（中文）： 李昭道（约西元八世纪初）是李思训的儿子，甘肃天水人。他最擅长于画山水，并且能发扬家学，与他的父亲大李将军齐名，号称小李将军。李家画山水，构图复杂而巧妙。常以均匀的细笔金勾画出山石树木轮廓，再填染赭石、石青、石绿等浓重的颜色。还常再加上泥金的线条，衬在山石轮廓线的内侧，特别显出金碧辉煌的感觉。后人称为「青绿」山水，为「北宗」所主。这一幅是属于李家山水法，画幅右下角有「李昭道画」的落款。 内容简介（中文）： 本幅构图复杂而巧妙。以均匀的细笔钩画出山石树木轮廓，填染赭石、石青、石绿等浓重的颜色。再加上泥金的线条，衬在山石轮廓线的内侧，呈现金碧辉煌的感觉。原题为〈唐李昭道湖亭游骑〉，画幅右下角「李昭道画」落款，应为伪加。李昭道（约西元八世纪初）是李思训的儿子，甘肃天水人。擅长画山水，并能发扬家学。就此幅的构图、画法而言，应为十七世纪晚明仿古之作。(20120103) 内容简介（英文）： The composition here is complex and ingenious. The outlines of trees, rocks, and mountains are in steady, even lines using a fine brush and then filled with thick, opaque mineral pigments, such as ochre, azurite, and malachite. Thin gold lines were added to the colors, defining the rock and mountain patterns while creating a colorful, shimmering surface. The original label for this work ascribes it to Li Zhaodao (fl. ca. early 8th c.) of the Tang. In the lower right is the signature, “Painted by Li Zhaodao,” that is probably spurious. Li, son of Li Sixun and native to Tianshui, Gansu, excelled at painting landscapes and followed the family style. Judging from the composition and painting style here, it is probably a 17th-century archaic imitation from the late Ming.(20120103) 内容简介（英文）： Li Chao-tao, the son of Li ssu-hsün, was born in T'ien-shui in Kansu province. He excelled in painting landscapes in the style invented by his father. The two Li's are equally famous and are usually referred to as the "Elder General Li" and the "Younger General Li". Landscapes in the Li family style are characterized by complex compositions filled with minute details. Often trees, rocks, and mountains are drawn with a steady, even line using a very thin brush. These outlines are then filled in with thick, opaque mineral pigments, such as iron red, azurite blue, and malachite green. Thin gold lines are often added on top of these colors to define the patterns on the surfaces of rocks and mountains, creating the impression of a brilliant, shimmering surface of precious materials. Later critics called this style the "Blue and Green" manner and considered it the beginning of the "Northern School" of Chinese painting. This painting belongs to the Li family tradition of painting and bears the signature of Li Chao-tao at the lower right. 内容简介（英文）： Li Chao-tao, a member of the T'ang imperial clan, was active in Hsüan-tsung's reign (713-755). According to painting histories, Li Chao-tao's father, Li Ssu-hsün, specialized in landscape painting and served as Left General-in-chief of the Militant Guard, hence known as “Greater General Li” then. With his father's guidance, Li Chao-tao followed his study of painting, which is why he was praised as “Lesser General Li”. This blue-and-green landscape in the fine-line manner, with its even strokes, delicately delineates the outlines of various forms, such as the mountains and trees. They were then filled with hues of ochre, malachite, and azurite, leading one to imagine the bright and dazzling colors along with the brilliant brushwork when originally done.