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:

本幅绢对幅纸

释文:

印记资料:

鑑藏宝玺：古希天子
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：太上皇帝之宝

题跋资料:

题跋类别：作者款识；作者：李嵩；题跋位置：本幅；款识：李嵩；书体：行书；全文： 题籤 ；题跋位置：本幅；款识：无；；书体：隶书；全文：李嵩朝回环珮

题跋类别：题跋；作者：清高宗对幅 ；书体：行书；全文：御笔分题行书（辛丑长夏御题。诗文不录）印记：成性存存、涵虚朗鑑

主题:

其他主题：人物帝王 ；其他主题：人物官员（臣） ；其他主题：人物侍从（侍女、童仆） 主要主题：建筑宫殿 ；其他主题：建筑栏杆 ；其他主题：器用家俱（屏风） 

技法:

工笔 界画 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈续编（干清宫），第一册，页492 收藏着录： 故宫书画录（卷六），第四册，页215 收藏着录： 故宫书画图录，第二十九册，页354-365 参考书目： 1.林莉娜，〈宋李嵩朝回环珮〉，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100-101。 网页展示说明 李嵩（约活动于 1190-1264）为南宋中期画家，生卒年份已不可考，浙江钱塘人。 年少因家境贫穷，曾从事过木工，后因绘画秉赋，获绍兴画院名手李从训（约活动于1120？1160）赏识，纳为养子，传以画艺。李嵩人物、山水、花卉皆长，善用界尺作屋木画，笔致细腻，形神兼备。历光、宁、理宗朝画院待诏，被尊为「三朝老画师」。 此图绘宫殿宦官退班，殿堂建在层叠的台基上，沿铺压阑石一周，四转角处各设角石、角柱石。前殿略低于主楼，为五开间重檐歇山顶，台基有收分，下有平坐，表面有雕浅浮雕花纹。 前殿于当心间设踏道，两侧斜坡垂带其两头直角三角部份为「象眼」，是北宋前后一般所用的砌造方式，与>所绘相同。殿内两侧有踏道通入廊内，周边钩栏，向后矩折，围成庭院。后方中央大殿为重檐十字脊歇山顶，承受屋顶瓦板的构件除檐椽外别加飞椽，增加挑出深度，檐头略呈飞起之势。翼角外蹲兽四枚，前有仙人，檐下置有套兽，宋代以前房屋开间、屋顶装饰是受律法监管，除皇宫外其他房舍不得建重檐，仅二品以上可建斗栱，五品以上可作瓦兽装饰，此图所绘为等级较高的重要建筑物。斗栱由方形的斗升及矩形的栱，斜的批竹昂组成，图中补间、柱头和转角铺作的形式尺度，为>中的规定作了极佳的说明。图上署款「李嵩」与本院所收藏另一张「天中水戏」字蹟相同，是一张极好的南宋界画杰作。(林莉娜) 网页展示说明 Following the central axis of the building shown here takes the viewer from the entrance to the interior along a symmetrical arrangement. This building complex, surrounded by covered walkways, is built directly atop an elevated slab-faced foundation, which has a curb and pier at each end. The entrance hall rests on a tall platform with sloping (entasis) walls and has bracketing and an elevated terrace. A series of steps lead up to the central bay with a railing on either side and the triangular "elephant-eye" pattern below, which correlates to the Sung technique illustrated in Ying-tsao fa-shih (Building Standards). The tall central structure behind has a double-eave roof with a cross-shaped ridge and flying rafters. The ch'ih-wen ornaments at the ends of the main ridge have wide-open mouths and tall curving tails, which are typical of the style from the Sung, Chin, and Liao periods. A animal cap lies below the corner ornaments. Li Sung, a native of Chekiang, was famous for ruled-line painting and served as a court artist under Emperors Kuang-tsung, Ning-tsung, and Li-tsung in the Southern Sung. This work is similar to another work signed by Li Sung in the Museum collection; Dragon Boat. This is the twelfth leaf from the third album of "Yen-yun chi-hui."