书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢诗塘纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：宁寿宫续入石渠宝笈
鑑藏宝玺：乐寿堂鉴藏宝
鑑藏宝玺：古希天子
鑑藏宝玺：寿
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：懋勤殿鉴定章
鑑藏宝玺：乾隆御赏之宝
鑑藏宝玺：几暇鑑赏之玺
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鉴玺
收传印记：真赏(重一)
收传印记：琴书堂
收传印记：千山耿信公书画之章
收传印记：信公珍赏(重一)
收传印记：珍秘
收传印记：宜尔子孙
收传印记：丹诚
收传印记：都尉耿信公书画之章
收传印记：信公鉴定珍藏(两半印)
收传印记：九如清玩
收传印记：也园珍赏
收传印记：櫰庭清玩
收传印记：东平
收传印记：会侯珍藏(重一)
收传印记：（两半印不识）

题跋资料:

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：已卯（西元一七五九年）御题。；书体：行书；全文：刘郎七夕集灵台。阿母青鸾送信来。金马是谁得陪乘。独称方朔善谐诙。已卯（西元一七五九年）御题。印记：宝一、太卦

题跋类别：题跋；作者：董其昌诗塘 ；书体：行书；全文：赵千里学李昭道宫殿。足称神品。董其昌审定。印记：知制诰日讲官、董其昌印

主题:

主要主题：山水夜景（月景） 主要主题：建筑宫殿 主要主题：节令与二十四节气七夕 ；其他主题：人物侍从（侍女、童仆） ；其他主题：树木  ；其他主题：树木芭蕉 ；其他主题：走兽马 ；其他主题：走兽羊 ；其他主题：建筑台阁 ；其他主题：器用饮食器 ；其他主题：人物仕女 ；其他主题：人物圉人 ；其他主题：树木杨柳 ；其他主题：花草梅（白．红．蜡梅） ；其他主题：走兽牛 ；其他主题：车兽力车 ；其他主题：器用家俱（屏风） 

技法:

工笔 

参考资料:

收藏着录： 石渠宝笈续篇（宁寿宫），第五册，页2704 收藏着录： 故宫书画录（卷五），第三册，页70-71 收藏着录： 故宫书画图录，第二册，页7-8 参考书目： 1.童文娥，〈宋赵伯驹汉宫图〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页102-103。2.国立故宫博物院编辑委员会，〈宋赵伯驹汉宫图〉，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56。3.本社，〈宋赵伯驹汉宫图〉，《故宫文物月刊》，第17期（1984年8月），页1。4.李霖灿，〈山水画中点景人物的断代研究〉，《故宫季刊》，第十三卷第二期（1978年冬），页25-40。5.林莉娜，〈汉宫图〉，收入何传馨主编，《文艺绍兴：南宋艺术与文化‧书画卷》（台北：国立故宫博物院，2010年十月初版一刷），页382。 内容简介（中文）： 赵伯驹（约西元一一二○－约一一六二年），字千里，宋太祖七世孙，赵大 年之子。仕至浙东兵马钤辖。善画山水、花果、翎毛，及人物。楼阁界画尤妙。 本幅界画汉宫，宫中设步帐，帐外牛马车驾。帐内宫女两行，各执法乐。拥簇一妇人，后从五箑，前有饩羊，穿假山，趋高台。赋彩古艳，笔细而沈着有力，人物、车马、楼阁、家俱、树石远山赅备，虽是小品，却极复杂精细。清高宗以为汉武帝七夕会西王母事。原无名款，明末董其昌审定为南宋初赵伯驹所绘。 本幅画汉宫七夕景色，宫殿阁道，上接层观。人物、车马、楼阁、家俱、树石远山赅备，是小品中较为复杂的画。原无名款，唯画中用界极工，人物精妙，明末董其昌审定为南宋初赵伯驹所作。诗塘有董其昌记：「赵千里学李昭道宫殿，足称神品。董其昌审定」。 内容简介（中文）： 重檐歇山顶楼阁造型雄浑有力，室内摆置鎏金香炉、鼎、尊等铜器及瓷器，此类器物多用于筵席陈设及重要礼仪场合，所绘应为南宋宫廷重要殿阁，主题则是皇宫节令活动之实景。宫廷乐人并排引导奏乐，队伍内有执扇宫娥伴随妃嫔徐徐步行。庭院帷障内停放牛车马辂，篷顶复棕丝并缀朱漆脊梁，车身雕镂装饰华美，应为官员眷属座车。本幅虽无名款，董其昌（1555－1636）跋文订为赵伯驹（1120－约1182）所作。(20101015) 内容简介（英文）： The form of the double-eave, hip-and-gable roof for the main building in this painting is majestic and imposing, and set up in the interior are refined bronzes and porcelains, such as a gilt incense burner, cauldron, and zun vessel. Such types were mostly used at banquet settings and important ceremonies. As a result, the painting here probably depicts a major hall at the Southern Song court, the subject perhaps being an actual scene from an imperial festival.Female court musicians here line up side-by-side to lead the tune, and in the ranks are palace female attendants holding rounded fans for the concubines proceeding through the scene. The courtyard is curtained off in front with ox- and horse-carriages outside. The awning to the carriage on the right is covered with coir frills embellished with red lacquer ridges. The body of the vehicle with its beautiful openwork decoration indicates it is probably for someone with official relations. Although this work has no signature, Dong Qichang (1555-1636) ascribed it to Zhao Boju.(20101015) 内容简介（英文）： Chao Po-chü was a descendent of the founder of the Sung dynasty, and son of the artist Chao Ta-nien. He served as Military Administrator of Infantry and Cavalry in Che-tung, Chekiang. He was good at many subjects, but his architectural and ruled line paintings were especially excellent. This painting depicts a scene at the Han Palace. Outside screens in the courtyard are ox – and horse-drawn carriages; within are two columns of court maidens, each holding a musical instrument. They are escorting a lady. Behind them are five attendants carrying fans. A sacrificial sheep precedes them, and the entire procession is crossing the artificial mountains toward a shrine altar. The application of color is particularly handsome, and the use of the brush is fine yet forceful. There is an inscription by the Ch'ien-lung emperor(r. 1736-1796), who thought that the painting depicts the sacrifice performed by Han emperor Wu-ti (140-86 B.C.) in his effort to meet the Queen Mother of the West (Queen of the Taoist Fairies). Chao Po-chü (1120-1172), style name Ch'ien-li, was the seventh generation descendant of Sung T'ai-tzu(r.960-966) and the son of Chao Ling-jang (No.70). He served as a military official in eastern Chekiang but was also an able painter of landscapes, flowers and fruit, birds and animals, and figures. He was especially adept at rendering storied buildings in the “boundary painting“ manner. “The Han Palace” depicts the palace on the night of the Ch'i-hsi festival (the 7th of the seventh lunar month). At the top of path is a high pavilion with a viewing platform. The scene is filled with figures, carts, horses, and furnishings. It is not signed. On the colophon paper above the painting is an inscription by Tung Ch'i-ch'ang, who evaluated it in these words, “Chao Ch'ien-li studied the palaces of Li Chao-tao. This (painting) is good enough to belong to the divine class.”