书体:

色彩:

水墨

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅纸引首纸隔水一绫隔水二绫拖尾纸

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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：养心殿鑑藏宝
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：五福五代堂古稀天子宝
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：太上皇帝之宝
鑑藏宝玺：即事多所欣
鑑藏宝玺：寓意于物
鑑藏宝玺：卍有同春（重一）
鑑藏宝玺：用笔在心
鑑藏宝玺：嘉庆御览之宝
收传印记：黔宁世家
收传印记：沐府图书
收传印记：沐璘廷章
收传印记：钱氏合缝（鼎印。重二）
收传印记：钱氏素轩书画之记（钱印）
收传印记：素轩清玩珍宝
收传印记：司马垔父
收传印记：兰亭
收传印记：韩逢禧书画印
收传印记：倪嘉庆印
收传印记：心赏（瓢印）
收传印记：吴元善
收传印记：敬缄
收传印记：丙戌进士
收传印记：昭戎私印
收传印记：信物周到（半印）
收传印记：谨封
收传印记：谢道印信
收传印记：笙巢真赏
收传印记：卧雪斋藏
收传印记：（梵印一）

题跋资料:

题跋类别：作者款识；作者：李公麟；题跋位置：本幅；款识：臣李公麟进；书体：楷书；全文：

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：无；书体：行书；全文：子仪诚喻。葛罗钦服。胥于握手中形之。公麟妙蹟。所见甚多。此为第一。印记：八征耄念之宝、自彊不息

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：壬子仲冬上澣。御题。；书体：行书；全文：泾阳不肯守孤城。单骑权为见虏行。扣马力违郭晞谏。步莎手任葛罗擎。吐蕃回纥心咸服。元振朝恩妒那倾。写像公麟肖神表。一言以蔽曰诚明。壬子仲冬上澣。御题。印记：八征耄念、自彊不息

题跋类别：题跋；作者：清高宗引首 ；书体：行楷书；全文：至诚昭揭印记：古希天子

题跋类别：题跋；作者：韩准拖尾至正丁未十二月下澣。沛中韩准书。；书体：行楷书；全文：考汾阳王中书令郭公。唐四朝元勳也。观其夹辅王室。事业磊落。系天下安危二十年。可谓社稷之大臣矣。读其传。揆其心。一以至诚为本。岂偶然哉。凡人避嫌者。内不足也。内无不足。彼疑而我不贰。彼谗而我不辩。鱼朝恩程元振之徒。妬其功高望重。恐威权轧己。阴相沮挠。公处之泰然。出入中外。奉诏即行。使至即起。居朝廷则忧边隅。居边隅则忧王室。虽不得安于庙堂之上。而人心属望。奄宦奸谋。卒莫能撼。大臣非公其谁耶。泾阳之围。特一事耳。彼数十万众。而我才万人。众寡不敌。孤城无援。在它人则必仓卒无谋。弃城奔溃之不暇。公乃度德量力。策画非常。量力则彼众我寡。度德则彼屈我直。与其抗。不若出。与其战。不若谕。单骑深入。不以兵卫自随。药葛罗辈。骇愕相顾曰。令公其犹存乎。下马罗拜。公握手与语。酹酒而誓。曾不数言。忠义感激。吐蕃遯。回纥却。泾围为解。于乎。非威望素着。群丑畏服。而动以至诚。其能然乎。公与光弼齐名。宽厚得人过之。史确论也。代宗呼大臣而不名。宜矣。诗曰。方叔元老。克壮其猷。又曰。公孙硕肤。赤舄几几。汾阳有焉。噫。有国家者。屏逐奸党。保全功臣。不可不监。至正丁未十二月下澣。沛中韩准书。题籤程荔江隔水一雍正己酉七月之闰。师意斋重装。水南程荔江书签。；书体：楷书；全文：李龙眠免冑图。神品。雍正己酉七月之闰。师意斋重装。水南程荔江书签。

主题:

主要主题：人物军士 主要主题：人物官员（臣） 主要主题：人物蕃族蕃兵主要主题：走兽马 ；其他主题：山水云 ；其他主题：器用仪仗（佛教宝盖） ；其他主题：器用旗 ；其他主题：建筑城墙 ；其他主题：器用兵器弓、箭、刀、戟

技法:

白描 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈续编（养心殿），第二册，页946 收藏着录： 故宫书画录（卷四），第二册，页23 收藏着录： 故宫书画图录，第十五册，页289-294 参考书目： 1.林柏亭、张华芝，〈宋李公麟免冑图〉，收入林柏亭、张华芝编，《画马名品特展图录》（台北：国立故宫博物院，1990年元月初版），页85。 内容简介（中文）： 唐代宗永泰元年（西元七六五年），回纥等部率大军入侵，郭子仪（六九七─七八一）奉诏守泾阳，寡不敌众。回纥闻公名欲求见，子仪除去盔甲，领数十骑直入敌阵，见其大酋，回纥感其忠诚英勇，舍兵下马礼拜。马是贵族地位的象征，也是将士忠诚伙伴。李公麟（一O四九─一一O六）创立以水墨钩描线条的白描画马法，具有文人画清逸雅淡的韵味，其传世作品甚少，此图亦是后人迳自加上传称的。 内容简介（中文）： 唐代宗永泰元年（765），回纥等部率大军入侵，郭子仪奉诏守泾阳，寡不敌众。回纥闻公名欲求见，子仪除去盔甲，领数十骑直入敌阵，见其大酋。回纥感其忠诚英勇，舍兵下马礼拜。此卷即以白描法画此故实。画中郭子仪俯身援手，以礼相见，体现从容大度一代名将的风范。此作衣纹线条流畅，颇具文人清逸之趣。幅上虽有李公麟（1049－1106）的署款，但从画风观之，当为后人所为。(20110913) 内容简介（英文）： In 765, the Tang dynasty was invaded by a large army headed by the Uighurs. Guo Ziyi was ordered by the Tang court to defend Jingyang but was hopelessly outnumbered. When the advancing army heard of Guo’s renown, it requested a meeting with him. Guo thereupon took off his armor and led a few dozen cavalry to meet their chieftain. The Uighur chieftain was thereupon so impressed by Guo’s loyalty to the Tang and his bravery that he also dropped his weapons, dismounted, and bowed in respect. This story is illustrated using the “baimiao” (ink outline) method of painting. In the painting here, Guo Ziyi is shown leaning over and holding out his hand as a mutual sign of respect at the meeting, reflecting the composure and magnanimity of this famous general at the time. The lines in the drapery patterns in this work flow with ease, having much of the pure and untrammeled quality of literati painting. Although this work bears a signature of Li Gonglin, judging from the style, it appears to be a later addition.(20110913) 内容简介（英文）： In 765, the T’ang dynasty was invaded by an army headed by Uighurs. Kuo Tzu-i (697-781) was ordered to defend Ching-yang but was hopelessly outnumbered. The advancing army heard of Kuo’s fame and requested a meeting. Kuo boldly dropped his weapons and met the chieftain with only a few cavalrymen. The Uighur chieftain was so impressed by Kuo’s loyalty to the T’ang and his bravery that he dropped his weapons, dismounted, and bowed.Horses symbolized noble status and were used by military leaders. Li Kung-lin, who created the pai-miao technique of monochrome ink, gives this theme the elegant purity and refined classicism of literati painting. However, few of his works survive, and this work attributed to him is by a later hand.