书体:

色彩:

设色

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：宣统御览之宝
收传印记：司印
鑑藏宝玺：晋府图书
收传印记：墨林祕玩
收传印记：珍玩
收传印记：珍藏
收传印记：懋和真赏
收传印记：张氏审藏书画之章

题跋资料:

题跋类别：题签；    荷亭销夏

主题:

主要主题：山水夏景 ；次要主题：树木竹 ；次要主题：树木松 ；次要主题：建筑水榭 ；次要主题：建筑桥 ；其他主题：山水山径 ；其他主题：山水江河、湖海 ；其他主题：人物高士（士人、隐士） ；其他主题：人物侍从（侍女、童仆）童仆；其他主题：花草  ；其他主题：花草莲荷 ；其他主题：建筑台阁 ；其他主题：器用家俱（屏风） ；其他主题：器用文玩（琴棋书画）琴    

技法:

工笔 界画 皴法 人物衣纹描法(减笔) 

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.何传馨，〈无款荷亭消夏〉，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年初版），页95-96。2.张华芝，〈宋人荷亭销夏〉，收入国立故宫博物院编，《宋代书画册页名品特展》（台北：国立故宫博物院，1995年初版一刷），页262-263。3.张华芝，〈「七十件书画册页名品特展」精选(六) — 宋人荷亭销夏〉，《故宫文物月刊》，第152期（1995年11月），页86-88。4.张华芝，〈荷亭销夏〉，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387-388。 内容简介（中文）： 苍巖上树木杂沓，二松盘根挺立，技叶簇茂成荫。绿荫下，倚巖建阁，以廊与水亭相连，亭内有士坦腹高卧，状甚悠閒。亭外澄波微荡，田田荷叶环聚水面。湖中长堤上，童仆执扇抱琴往来其间。坡岩上垂柳摇曳，在湖光山色的烘托下，画幅间所散发出的清夏之气，令人神往！ 本幅选自「名绘集珍」册第五幅，无作者款印。观其用笔，近景坡石、苍巖及树木，皆有李唐一派挺健之风；而中景山峰，略有李郭派之笔意。画者约为南宋中期之画家。 内容简介（中文）： 画夏日临水乘凉情境。由苍巖、盘松、垂柳、田荷环绕下的水亭主景内，士人坦腹高卧，状甚悠閒。幅间清夏之气，令人神往！全景构图，用笔层次井然，近景坡石、山巖及树木，皆有李唐一派挺健之风。而画中精致建筑和自然景色，相互衬托融合，其工秀的表现手法和画意境界，画者或是受到界画大师刘松年（活动于1174－1224）的影响。画中人物夏日纳凉的活动，正反映了南宋上层社会的时代特征。(20101015) 内容简介（英文）： This painting depicts a summer day of cooling off in a waterside kiosk. The main motifs in the scenery include a verdant cliff, twisting pines, drooping willows, and a pavilion surrounded by lotuses, where a half-robed scholar leans in a pose of contemplative leisure. A cool summer breeze seems to blow through the painting, inspiring the viewer’s imagination as well.The layers of brushwork throughout the composition are orderly, and the depiction of the landscape, rocks, and trees in the foreground are all in the firm manner of the Li Tang school. Furthermore, the refined architecture and natural scenery here complement each other perfectly, the fine and elegant method of expression along with the painterly realm suggesting the hand of an artist influenced by the ruled-line manner of the master Liu Songnian (fl. 1174-1224). The activity of a figure cooling off on a summer day is a period feature of upper-class society in the Southern Song.(20101015) 内容简介（英文）： In this scene of trees crowded together on a verdant promontory, two pine trees emerge upright with their needles forming a canopy of deep shade. Obscured by the trees and the promontory is a house which is connected to the water pavilion by a long corridor. In the pavilion lies a half-robed scholar propped up leisurely on a lounge. Surrounding the pavilion are waves blown by a gentle wind and crowds of lotus plants. Servant boys carrying a fan and a lute make their way along the covered corridor. The cool ambience of the two willows swaying elegantly on the embankment, seen against the backdrop of waterside hills scorched by the summer heat, almost makes the viewer want to enter the painting and leisurely while away the day. This is the fifth leaf from the album Ming-hui chi-chen, and it is unsigned. Judging from the brushwork, the intimate scene of a waterside embankment, and verdant cliff with trees, it appears to be in the style of the Li T'ang (ca. 1049-after 1130) schoo1. However, the brushwork in the middle distance appears somewhat in the Li Ch'eng-Kuo Hsi (10th-1lth cent.) manner. Regardless, the painter was probably active during the middle of the Southern Sung (1127-1279).