书体:

色彩:

设色,描金

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御赏之宝
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：蕉林书屋
收传印记：云中（重二）
收传印记：蕉林
收传印记：河北棠村（重二）
收传印记：冶溪渔隐
收传印记：观其大略
收传印记：苍严子

题跋资料:

题跋类别：题跋；作者： ；题跋位置：本幅；款识：无；书体：楷书；全文：景德元年十二月。契丹遣使韩杞奉书行宫。请息兵纳和。与曹利用偕来。初议求关南地。真宗曰。为民屈已诚所不辞。但关南事极无名。朕守祖宗基业。不敢失坠。必若固求。当决一战。所念河北重扰。傥岁以金帛济其不足。于体无伤。利用言。国母一车。别无供帐。亲与利用饮食。轭上横板布食器。主及其臣重行而坐。杞亦私语左右曰。尔见北寨兵否。劲卒利器。前闻不同。臣熟察之。傥求割地。必请会师平荡。及通好二年。十一月癸酉。国母主各遣使来贺承天节。致御衣十二袭。皆缀珠银貂裘。细锦刻丝。透背纱縠。贮以金银饰箱。金玉水晶鞍勒马八。散马四百。弓矢宾铁刀。鹰鹘粆腊。契丹新罗酒。青白盐。果实百品。贮以梀棂器。使人以戎礼见。赐毡冠窄袍金䩞鞢。其副以华礼见。赐幞头公服金带。并加袭衣器帛鞍勒马。宴长春殿。又择膳夫赍本国食味。就尚食局撰进。初将见。李宗谔引令式。不许佩刀。至上合门。欣然解之。上曰。戎人佩刀。是其常礼。传诏许其自便。副使刘经曰。圣上推心置人腹中。足以示信遐迩也。臣等曰。凶奴为中国害旧矣。历古备御之说甚详。大抵征伐。则诱冦。和亲。则损威。惟赂遗有常。聘好有时。保境息民。谓之得策。肆武生事。其鉴不远。在太祖时。从抚纳之。利洎晋。平北略。遂隔朝事。繇景德之盟。四五十年。边䛉亿安。衣裳岁会。盖式遏之。计不忘豫。备而款接之问。亦为远驭矣。

题跋类别：题跋；作者： ；题跋位置：本幅；款识：无；书体：楷书；全文：北寨宴射（文不录）

题跋类别：题跋；作者： ；题跋位置：本幅；款识：无；书体：楷书；全文：舆驾观汴涨

题跋类别：题跋；作者： ；题跋位置：本幅；款识：无；书体：楷书；全文：太清观书

主题:

主要主题：人物官员（臣） 主要主题：人物蕃族 主要主题：建筑宫殿 ；次要主题：人物军士 ；其他主题：树木寒林．枯树 ；其他主题：走兽马 ；其他主题：经史‧故事 契丹使朝聘、北寨宴射、舆驾观汴涨、太清观书；其他主题：器用家俱（屏风）桌、椅、凳；次要主题：器用饮食器 ；其他主题：器用乐器鼓 ；其他主题：器用兵器 ；其他主题：山水  ；其他主题：山水溪涧、湍泉 ；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：建筑亭 ；其他主题：建筑栏杆 ；其他主题：山水奇石 ；次要主题：人物侍从（侍女、童仆） ；其他主题：器用文玩（琴棋书画） 

技法:

工笔 界画 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1069 收藏着录： 故宫书画录（卷四），第二册，页88 收藏着录： 故宫书画图录，第十七册，页29-32 参考书目： 1.林莉娜，〈宋人景德四图(太清观书)〉，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99。2.国立故宫博物院编辑委员会，〈宋人景德四图〉，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58。3.陈韵如，〈宋人景德四图〉，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139- 141。 内容简介（中文）： 此图乃记录宋真宗景德元年(1004)契丹遣使韩杞奉书行宫请息兵纳和，与曹利用偕来初议求关南地的史实，整卷幅上各以楷书标题，幅后附文记史。「契丹使朝聘」所绘建筑由台基、柱身、斗栱、屋顶垂直叠加而成，主殿为歇山顶，左右两侧有耳殿相连，屋顶正脊两端有鸱吻装饰，鸱性好水，置于屋上以禁火灾。垂脊与岔脊端则以兽头终结。 屋檐两角起翘，檐下一周在柱头上使用「一斗三升」式斗栱，结构单纯，颇显疏朗，用材数较大。此殿身阔五间， 为加强当心间(正中一间)的重要性，增大其柱距，次梢间递减。于次间殿前设踏道，采「两阶制」设东西阶的做法，《礼记. 曲礼》说：「主人就东阶，客就西阶。」显示出中国古代建筑设计亦深受礼的制约。画中亦可见散水砖设于台基下四周，以承受屋檐上滴下之水。 内容简介（中文）： 本幅采用右图左史形式, 记录宋景德四年(一oo七)真宗召群臣于皇家藏书处太清楼, 观太宗圣制御书及新写四部群书情景. 楼阁由台基、柱身、斗栱、屋檐、平坐依垂直方向逐级叠加而成, 殿身面宽七间, 当心间柱距较宽, 次间、梢间递减. 重檐歇山顶, 正脊有鸱吻装饰, 垂脊与岔脊端有兽头作结束. 此图斗栱用材较大, 檐下柱头斗栱使用一斗三升式, 没有补间斗栱, 简单有力, 颇显疏朗. 殿堂踏道采唐宋左右「两阶制」的做法, 供宾主升降之用.(林莉娜) 内容简介（中文）： 全卷分四段，前图后文，各段并有榜书主题。依据研究，此卷应与皇祐元年（1049）宋仁宗同臣僚观看的〈三朝训鉴图〉有关；〈三朝训鉴图〉录宋太祖至真宗三朝事一百件，作为帝王训鉴之用。 「契丹使朝聘」为景德二年（1005）辽使来贺真宗生日；「北寨宴射」是景德元年（1004）澶渊盟后真宗到北寨与武将宴射。「舆驾观汴涨」景德三年（1006）宋真宗亲巡汴河河堤的修整；「太清观书」则是景德四年（1007）真宗召文臣观书于太清楼。(20061206) 内容简介（中文）： 本卷采用左史右图形式，记录宋真宗景德年间（西元一○○四—一○○七）的重要史实。第一段「契丹使朝聘」描绘景德元年契丹遣使韩杞，奉请息兵纳和的史实；第二段「北寨宴射」描绘真宗至北寨与武将宴射的景象；第三段「舆驾观汴涨」描写景德三年（一○○六）汴河氾滥，真宗亲巡河堤修护的事件；第四段「太清观书」呈现景德四年（一○○七）真宗召文臣观书于太清楼的故实。(20110405) 内容简介（英文）： This handscroll has texts on the left and illustrations on the right, recording important events of Emperor Zhenzong’s Jingde reign (1004-1007). The first section is “Khitan Emissary Sending Respects to the Court,” depicting Han Qi (Khitan envoy to the Song court) making overtures for peace in 1004. The second is “Banquet and Archery at the Northern Stockade,” showing a scene of Zhenzong attending an archery banquet for generals at the Northern Stockade. The third part, “Viewing the Bian Flood from the Imperial Carriage,” shows the Bian River flooding in 1006 with the emperor personally viewing repairs to the levee. The last part, “Viewing Books at Taiqing,” depicts Zhenzong calling officials to view books at the Taiqing Tower library in 1007.(20110405) 内容简介（英文）： This handscroll is divided into four sections, the illustration appearing with text afterwards. Each section is also accompanied by a label for the subject. According to research, this handscroll is probably related to Emperor Jen-tsung accompanying officials in viewing the “Illustrated Admonitions for Reflection on the Three Reigns” in 1049. This was a collection of a hundred events from the reigns of the three Sung emperors T'ai-tsu, T'ai-tsung, and Chen-tsung used to instruct the ruler. “Court Emissary of the Khitan Offering Tribute” represents an event from 1005 (Ching-te 2nd year), in which an emissary from the Liao dynasty presented birthday blessings to Chen-tsung. “Military Exercises at Northern Stockade” is an event of 1004 (Ching-te 1st year) in which Chen-tsung went to Northern Stockade (Pei-chai) and held military exercises with his generals after signing the Ch'an-yüan Treaty of Alliance. “Imperial Carriage Harnessed to View the Rising Waters of Pien” took place in 1006 (Ching-te 3rd year), when Chen-tsung made a personal inspection of repairs to dikes along the Pien River. The last event is “Viewing Books at T'ai-ch'ing”, in which Chen-tsung convened literary officials to review books at the Great Purity (T'ai-ch'ing) Tower in 1007 (Ching-te 4th year).(20061206) 内容简介（英文）： This section of a narrative handscroll shows when Emperor Chen-tsung ordered officials in 1007 to the T'ai-ch'ing Hall, where imperial calligraphy was kept. They viewed the writings of the previous emperor T'ai-tsung (r. 976-997) and compiled texts. The T'ai-ch'ing Hall here is a symmetrical building with the wall facing the viewer composed of seven bays. The center bay is slightly wider than the others. The hip-and-gable roof with double eaves has ch'ih-wen end ornaments, and animal heads serve as hip ornaments. The timber used for the brackets appears quite large. Simple yet powerful, they create a solemn style reminiscent of the T'ang. In the "dual entry" formula here (found in the T'ang and Sung), the left stairs were for the host. 内容简介（英文）： This painting records four historical events that occurred in 1007 under the Sung emperor Chen-tsung. Each scene, introduced by a title written in standard script, consists of an illustration followed by an historical explanation. The first scene, entitled "Khitan Envoys Visiting the Chinese Court" depicts foreign emissaries bearing gifts. In the Chinese court, the emissaries and Chinese officials both exchange greetings and gifts. The second scene, entitled "Archery Banquet at the Northern Garrison," depicts a sung dynasty military event, where the full rank and file of the military practice and test their military skills. This scene is vividly rendered as though it were taking place right before one's eyes. The third scene, entitled "Riding a Carriage, Watching the pien River Rise", depict the emperor riding in a carriage in the capital K'ai-feng, supervising the river engineers and workmen who race against time to repair the barriers along the banks of the rapidly rising Pien river. The fourth scence, entitled "Viewing Books at the T'ai-ch'ing Pavilion", depicts the emperor Chen-tsung and his high-ranking officials at the T'ai-ch'ing Pavilion where the Imperial Library is housed. They have gathered there to review the books written under the first Sung emperor, T'ai-tsung, and the newly completed compendium commissioned by the emperor Chen-tsung. The architecture of the imperial buildings and the clothing of the people are all truthfully rendered. This scroll is a manifestation of the union of visual art and literary. 网页展示说明 本幅采用「右图左史」形式，记录宋真宗景德四年（1007）的史实，幅上各以楷书标题，幅后附文记史。「太清观书」为真宗召群臣于皇家藏书处太清楼，观太宗圣制御书及新写四部群书情景。虽是皇宫一部份，处理手法非常朴实。建筑结构单纯肯定，界画线条简劲有力。 殿身面宽七间，当心间（居中的一间）柱距较大，次、梢、尽间递减。匾额悬挂于楼阁上层前檐正中，牌心书有「太清观书」四字，重檐歇山顶（宋称九脊殿），正脊两端有鸱吻装饰。鸱吻一般被认为是>中所描述：「汉柏梁殿灾后，越巫言海中有鱼虬，尾似鸱，激浪即降雨，遂作其象于屋上以压火祥。」传说能避火，故将其形象用于建筑脊饰。 中国古代高层建筑是由台基、柱、斗栱、屋檐、平坐，沿垂直线方向逐级叠加而成，斗栱是减少横梁与立柱交接点上的剪力特有的部件，由若干梯形木块-斗，和肘形长木块-栱，层层装配而成。此图斗栱用材较大，合乎宋代>规定七间殿宇的用材。檐下一周在柱头处使用「一斗三升」斗栱，简练有力，颇显疏朗，较近于唐代之硕大雄壮。 殿堂采用唐宋时期「两阶制」设东西阶的做法，左右对称，供宾主升降之用。堂前廊道及踏道两侧皆围以钩栏，柱头上饰有宝珠仰莲。画中可见散水砖设于台基下四周，以受檐上滴下之水。(林莉娜)１、>由李诫（？？1110）奉旨编修，书成于宋哲宗元符三（1100）年，徽宗崇宁二年（1103）颁行列郡官署，作为营建工程通行的法式，绍兴十五年（1145）重刊，是中国古代建筑技术专书。 网页展示说明 This work takes the form of a narrative handscroll with an illustration on the right and text to the left. This scene shows when Emperor Chen-tsung (r. 998-1022) ordered officials in 1007 to the T'ai-ch'ing Hall, where imperial calligraphy was kept. There, they viewed the writings of Emperor T'ai-tsung (r. 976-997) and compiled texts. The T'ai-ch'ing Hall shown here is composed of a raised foundation, a column, bracket, and eave system, and a projecting veranda around the building all arranged in an orderly and symmetrical manner. The wall facing the viewer is composed of seven bays. The center bay is slightly wider than the secondary and tertiary bays to either side. The hip-and-gable roof with double eaves has, at the top, ch'ih-wen ornaments at either end of the main ridge. Animal heads serve as hip ornaments. The timber used for the bracket sets appears quite large, transferring the weight of the roof to the columns under the eaves. Simple yet powerful, they create a straightforward style reminiscent of that from the T'ang dynasty (618-907). This work reveals a hierarchical "dual entry" system used in the T'ang and Sung dynasties, in which the left stairs were reserved for the "host" and the right for "guests." 研究性论着： 本幅采用右图左史形式, 记录宋真宗景德四年(1007)的史实, 幅上各以楷书标题, 幅后附文记史. 「太清观书」为真宗召群臣于皇家藏书处太清楼, 观太宗圣制御书及新写四部群书情景. (注 1)画家作正面俯瞰式描绘, 虽是皇宫一部份, 处理手法非常朴实. 建筑结构单纯肯定, 界画线条简劲有力. 殿身面宽七间, 当心间(居中的一间)柱距较大, 次、梢间递减. 重檐歇山顶(宋称九脊殿, 它由正脊、四条垂脊、四条戗脊背组成.)正脊两端有鸱吻装饰, 尾尖向内, 本身简洁. 垂脊与岔脊端有兽头作结束, 无仙人走兽. 鸱尾一般被认为是>中所描述:「汉柏梁殿灾后, 越巫言海中有鱼虬, 尾似鸱, 激浪即降雨, 遂作其象于屋上以压火祥.」明显特征是强调尾部, 向内自然翻转, 五代、宋之后增加吞脊的口, 改称为鸱吻. 经过历代工匠的再美化创造, 而有鸱尾、鸱吻、龙吻造型的变化. 匾额悬挂于楼阁上层当心间前檐正中,>称之为「华带牌」, 牌心书有「太清观书」四字. 中国古代高层建筑是由台基、柱身、斗栱、屋檐、平坐沿垂直线方向逐级叠加而成, 斗栱是减少横梁与立柱交接点上的剪力特有的部件, 由若干梯形木块 - 斗, 和弓形长木块 - 栱, 层层装配而成. 此图斗栱用材较大, 合乎宋代规定七间殿宇的用材. (注 2)由斗上伸出横栱, 栱之两端成檐桁, 不见向外支出的翘. 檐下一周在柱头处使用「一斗三升」斗栱, 没有补间斗栱, 简练有力, 颇显疏朗, 较近于唐代之硕大雄壮. 殿堂采用唐宋时期「两阶制」设东西阶的做法, 左右对称, 供宾主升降之用.(注 3) 堂前廊道及踏道两侧皆围以钩栏, 柱头上饰有宝珠仰莲. 画中可见散水砖设于台基下四周, 以受檐上滴下之水. 注 1: 宋初内廷藏书之最, 为太宗所置崇文院三馆, 及其中秘阁.「栋宇之制皆帝亲授, 后苑有太清楼, 由在崇政殿西北一楼, 与延一仪凤翔一诸阁相接, 储四库书.」注 2: 所谓「材」者指建筑上所用的标准木枋, 即构成斗栱横栱的木材, 宋代>把材定为八个等份, 各有具体尺寸, 自一至八递减. 建筑物依其构架类型、间数规定可使用某一等级的材.注 3: >中有记载, 在堂的前方设有东西阶, 而正中无阶. 由陜西西安唐大雁塔门楣石刻线画(西元 704 年), 可见到唐代佛殿的东西阶形象.(林莉娜)