书体:

色彩:

设色,描金

装裱形式:

册(折装‧椭圆幅式)

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

收传印记：项子京家珍藏
收传印记：懋和真赏

题跋资料:

题跋类别：作者款识；作者：李□；题跋位置：本幅；款识：臣李□  题籤    水殿招凉

主题:

主要主题：建筑水榭 ；次要主题：树木杨柳 ；次要主题：建筑桥 ；其他主题：山水奇石 ；其他主题：山水江河、湖海江河；其他主题：人物仕女 ；其他主题：人物孩童 ；其他主题：人物侍从（侍女、童仆）侍女。童仆；其他主题：树木  ；其他主题：建筑庭院 ；其他主题：建筑池水 ；次要主题：建筑栏杆 ；其他主题：建筑水利 ；其他主题：器用家俱（屏风） ；其他主题：器用饮食器酒器；其他主题：器用童玩纸船

技法:

工笔 界画 皴法 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 故宫书画录（卷六），第四册，页208 收藏着录： 故宫书画图录，第二十九册，页166-169 参考书目： 1.林莉娜，〈宋李氏水殿招凉〉，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102-103。 2.国立故宫博物院编辑委员会，〈李氏水殿招凉〉，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。 内容简介（中文）： 重檐十字脊歇山顶，屋顶脊饰、瓦陇、斗栱、椽檐、山花面绘法极细腻。屋檐下方阑额上安补间铺作，当心间用两朵，次间各用一朵，完全符合宋代木匠建屋的技术规则。水殿下部自地面立永定柱，上施平坐，铺设地板，并置钩栏。建在池沼上廊桥，下用地袱，袱上立排叉柱，为研究宋代木桥、水闸宝贵资料。此图应是木工出身南宋院画家李嵩（约活动于一一九0─一二六四）所作。 内容简介（英文）： The cross-shaped ridge of the double-eave, hip-and-gable roof here has every detail rendered clearly. Two intermediary brackets are above the central bay and single ones above the secondary bays in a style Here, there are no "topping lintels (P'u-pofang)," almost always found after the Chin and Southern Sung (1127-1279). The building is on an elevated foundation, followed by posts and lintels, and then brackets to support the floor. The bridge has supports, visible to the right, and two center rows of columns (p'ai-ch'a chu). Such understanding suggests the hand of a major Sung court artist, such as Li Sung, who started out as a carpenter. This is the 4th leaf from the album "Ming-hui chi-chen." 网页展示说明 古代屋顶形象和细部装饰很丰富，此图为重檐十字脊歇山顶（由两个歇山顶十字相交而成，因在原屋檐下添加一层小檐，称为重檐。） 屋檐两头微微上翘，几条高起屋脊端头有兽头的收束构件（用以保护屋面两坡易漏雨的部份），垂脊前端则有仙人、蹲兽装饰。屋顶瓦陇与瓦当、飞椽、套兽绘法皆极细腻，屋顶山花面搏风版相当宽阔，正中安置垂鱼，沿边又有惹草装饰。（垂鱼是悬挂在山花中央的一个构件，它可遮挡缝隙，加强搏风版整体的强度。惹草则是钉在搏风版接头处，是象征性防火观念而来的装饰。） 屋檐下方阑额（檐柱之间起联系及承重作用的矩形横木）上安补间铺作，当心间用两朵，次间各用一朵，完全符合宋代木匠建屋的技术规则，临水殿建在水边或花丛之旁，构造灵活多样。画上有闸引湖水入渠道，流至宫苑内。建在池沼上的盝顶廊桥，下用地 ，上有排叉柱，柱上架额，额间架梁，是研究宋代桥樑、水闸的宝贵资料。款书但馀「 臣李 」二字，以画风论，应当是李嵩所作。(林莉娜) 网页展示说明 The cross-shaped ridge of the double-eave, hip-and-gable roof shown here has curved ends, ridge ornaments, sloping tiles, rafters and eaves, and sets of animal cap ornaments all rendered with exceptional detail. The barge-board panel is highly decorated. Below the roof is a bracketing system in which two intermediary brackets are found above the central bay and a single bracket above the secondary bays on either side. This form of construction closely correlates to Sung dynasty building practices. The bracket sets are located above the lintel and protrude from the corner column. There is no "topping lintel (p'u-po fang)," which was almost always found after the Chin (1115-1234) and Southern Sung (1127-1279). The building here is situated on an elevated foundation, followed by a post-and-lintel structure, and then bracketing to support the floor above. The veranda around the structure is decorated with railings. The covered bridge extending from the building has a support, visible to the right, along with two center rows of columns known as p'ai-ch'a chu. Consequently, this work is important for not only studying water control, but also Sung wooden bridge construction. Such apparent understanding of architecture suggests that this work came from the hand of a major Southern Sung court artist, such as Li Sung, who himself is said to have started his career as a carpenter. This is the fourth leaf from the album "Ming-hui chi-chen."