李嵩界画《朝回环珮图》图片

作品简介

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<<营造法式>>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<<营造法式>>中的规定作了极佳的说明。图上署款「李嵩」与另一张「天中水戏」字迹相同，是一张极好的南宋界画杰作。

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」。

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."

作者款识

李嵩。

题签

李嵩朝回环珮。

主题

技法

人物衣纹描法(匀称线条)、工笔、界画。

印记

收藏著录

石渠宝笈续编(乾清宫)，第一册，页492;

故宫书画录(卷六)，第四册，页215。