书体:
色彩:
浅设色,青绿装裱形式:
轴创作时间:
宋徽宗宣和六年（1124）文字类型:
质地:
本幅绢释文:
印记资料:
鑑藏宝玺：嘉庆御览之宝题跋资料:
题跋类别：作者款识；作者：李唐本幅石壁上皇宋宣和甲辰（西元一一二四年）春。河阳李唐笔。隶书主题:
主要主题：山水 主要主题：树木松 ；次要主题：山水溪涧、湍泉 ；次要主题：山水瀑布技法:
皴法斧劈皴参考资料:
收藏着录： 石渠宝笈三编（延春阁），第三册，页1477 收藏着录： 故宫书画录（卷五），第三册，页73-74 收藏着录： 故宫书画图录，第二册，页35-36 参考书目： 1.王耀庭，〈宋李唐万壑松风图〉，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94-95。2.何传馨，〈宋李唐万壑松风〉，收入何传馨、许郭璜编，《夏景山水画特展图录》（台北：国立故宫博物院，1991年七月初版），页93。3.陈韵如，〈李唐万壑松风图〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页103- 105。4.陈韵如，〈万壑松风图〉，收入林柏亭主编，《国宝菁华 — 书画‧图书文献篇》（台北：国立故宫博物院，2006年12月），页200。5.〈宋李唐万壑松风〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页224。6.王耀庭，〈国之重宝 — 书画精萃特展〉，《故宫文物月刊》，第19期（1984年10月），页22-23。7.李霖灿，〈李唐万壑松风之衍思〉，《故宫文物月刊》，第48期（1987年3月），页32-38。8.王耀庭，〈宋李唐万壑松风〉，《故宫文物月刊》，第100期（1991年7月），页76。9.李霖灿，〈故宫博物院的名画宝藏(上)〉，《故宫季刊》，第十三卷第四期（1979年夏），页69-83。10.铃木敬，魏美月译，〈试论李唐南渡后重入画院及其画风之演变(上)〉，《故宫季刊》，第十七卷第三期（1983年春），页57-74。11.铃木敬，魏美月译，〈试论李唐南渡后重入画院及其画风之演变(下)〉，《故宫季刊》，第十七卷第四期（1983年夏），页65-80。12.《李唐万壑松风》（台北：国立故宫博物院，1981）。13.陈葆真，〈万壑松风－谈李唐〉，《古代画人谈略》（台北：国立故宫博物院，1978），页9-13。14.倪再沁，《李唐山水画之研究》，中国文化学院艺术研究所硕士论文，1980年。15.刘智远，《李唐「万壑松风」图之研究》，国立台南艺术学院艺术史与艺术评论研究所硕士论文，2002年。16.廖尧震，〈微醺西湖畔，对影六七幅 南宋小景山水的诗情画境〉，《典藏古美术》，第217期(2010年10月)，页102-109。17.陈韵如，〈宋李唐万壑松风图〉，收入蔡玫芬主编，《精彩一百 国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页274。18.陈韵如；〈两宋山水画意的转折──试论李唐山水画的画史位置〉，《故宫学术季刊》，第二十九卷第四期（2012年夏），页75-107。 内容简介（中文）： 李唐（约一０四九-一一三０后，另一说约一０七０-一一五０后），河阳人，字晞古。北宋徽宗朝任职翰林图画院。靖康之难后，中原纷乱，李唐则在建炎年间（一一二七-一一三０）渡江至杭州。南宋绍兴年间（一一三一-一一六二）高宗重建了画院，李唐再入画院，授成忠郎，为画院待诏，赐金带。 本幅是继「谿山行旅」、「早春」之后，北宋山水的另一巨作，代表了山水画迈入另一辉煌的阶段。在主峰旁陡直的远山上，题有「皇宋宣和甲辰春河阳李唐笔」款，此时为北宋宣和六年（一一二四），李唐已经步入高龄，但下笔所呈现出的气势，仍令观者撼动。画上的主峰布置在画幅中央，两旁有高低参差的插云尖峰相衬，无论山岗、峭壁，造型沈稳厚重，巖面坚硬，纹理如同经过斧头砍凿，世称「斧劈皴」。画中构图采高远形式，使全画气氛肃穆，但李唐在构图上扩大了近景林木的比例，缩小了主峰，使近景松林和观者的距离接近，空间结构更为合理。李唐画风承先启后，实已开启南宋近景山水的先声。 内容简介（中文）： 据最近的光学分析，此画右侧山峰上的款题，是在青绿敷色层下；推测墨书应为原款，时间在一一二四年。李唐为河阳人，曾入徽宗画院，其时李唐正当盛年。约三十年后，又在南方重入高宗画院，发展出影响深远的大斧劈水墨风格。此作既为珍贵的李唐资料，亦可用以理解南北宋之变。 画中山水刻意绕过郭熙，而重回更早的范宽模式。但重点已非主山的壮硕，而转向描绘一个有松林流水的深邃山谷。借光学摄影，针叶上浓重青绿清晰可判，而其后之山体亦原敷有赭石之色，可想其原有的清晰空间关系以及丰富的光影效果。配合着流泉、水花的细节，交织出一个充满生命活力的境界。(20061206) 内容简介（英文）： The latest scientific study on this work shows the signature on a peak to the left appearing beneath the bluish-green wash. Suggesting the ink is original, it affirms the date as 1124. Li T'ang, native to Ho-yang, entered the Painting Academy under Hui-tsung at the prime of his career. About thirty years later, he re-entered the Academy after the Sung re-established in the south under Kao-tsung. The axe-cut texture strokes in ink that he developed strongly influenced later professional painting. Thus, this work offers precious evidence for Li T'ang's art and the transition from Northern to Southern Sung landscape painting. The landscape here consciously skirts past that of Li's predecessor Kuo Hsi and harks back to Fan K'uan. However, the focus is no longer the monumentality of the mountain, but rather the deep valley with windy pines and flowing water. Scientific photography clearly shows the pine needles were once covered with thick, dark green pigment and the original coloring of the mountains behind as being more ochre. As such, one can imagine the clear spatial definition and rich effect of light once evident here. The detailed interlacing combination of the flowing water and its spray also create a realm full of energy.(20061206) 内容简介（英文）： Li T'ang, a native of Ho-yang, is also said to have lived from about 1070 to after 1150. He served in the Hanlin Academy of Painting under Emperor Hui-tsung (r. 1101-1125) of the Northern Sung. Sometime between 1127 and 1130, after the fall of the Northern Sung in 1126 to northern invaders, Li escaped to the south, where the government became re-established as the Southern Sung (1127-1279) at Hangchow. There he re-entered the Painting Academy, which was set up during the period from 1131 and 1162. He went on to receive the title of Gentleman of Complete Loyalty and the prestigious Gold Belt. He also became a Painter-in-Attendance and was an important figure in court painting at the time. After the Museum's “Travelers Among Mountains and Streams” by Fan K'uan and “Early Spring” by Kuo Hsi of the Northern Sung, this is late Northern Sung masterpiece represents the next stage in monumental landscape painting of the period. Li T'ang's signature appears on a slender peak to the left and reads, “Painted by Li T'ang of Ho-yang in spring of the chia-ch'en year [1124] of the Hsuan-ho Reign of the Great Sung.” By this time, Li was already advanced in age, but his brushwork is still quite strong and inspired. With the main peak located in the center, clouds wrap around high and low peaks on either side. The cliffs and peaks are imposing and rugged, and their texturing was done using brush strokes similar to wood chopped by an axe (and hence became known as “axe-cut” strokes). Li T’ang employed a high distance compositional formula to make the atmosphere appear solemn. However, he also expanded the composition in front to include foreground woods and streams, which make the scene more intimate and closer to the viewer, and hence more comprehensible as a natural landscape. This trend towards closer visions continue in Sung painting, making this work an important forerunner of the intimate style of Southern Sung landscape painting. 网页展示说明 画幅左侧山峰有「皇宋宣和甲辰（1124）春河阳李唐笔」的款署。李唐（约1049－1130后），字晞古，河阳（河南孟县）人，活动于两宋之际。山间幽谷，松林郁郁茂生，泉水潺潺流动。山体虽层叠紧密，却有空间深度。以小斧劈皴擦山石，再用深浅青绿烘染，形塑山石坚实又具润泽感的独特效果，深浅设色的松针则营造出繁盛动态之效果。近景松林与背后泉水山石重叠，显示深远表现的画法。(20110913) 网页展示说明 On one of the peaks left of the main mountain is a signature that reads, “Brushed by Li Tang of Heyang in spring of the ‘jiachen’ year (1124) of the Xuanhe reign of the Great Song.” Li Tang (style name Xigu), a native of Heyang (Mengxian, Henan) was active from the late Northern to early Southern Song.In a secluded valley grows a luxuriant forest of pines as a torrent of spring water flows downward. Although the mountain forms are layered densely, there is still a sense of space between them. With small “axe-cut” strokes to texture the mountain forms, to which washes of light and dark blue and green were added, the solidity and luster of the mountains form a unique effect. The light and dark coloring of the pine needles also creates a flourishing and dynamic effect. The pine forest of the foreground and overlapping water and mountain forms behind reveal a painting method that expresses deep distance.(20110913)
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