传李思训《江帆楼阁图》高清图片

作品简介

传唐代画家李思训《江帆楼阁图》描绘的是游春情景，是作者以“青绿山水”与“金碧山水”创作的国画山水作品，画中山、树、江水和游人融汇一处，江上泛舟、山中树木茂盛，游人穿梭其中。远处江水荡漾，几叶扁舟漂浮，近处树木葱葱，楼阁庭院若隐若现，坡岸上游人穿行。其意境隽永奇伟、用笔遒劲、风骨峻峭、色泽匀净而典雅，画风精密严整、意境高超、笔力刚劲、色彩繁富，独树一帜。

李思训（约651—718，一说653—718），唐宗室，字建（或建景），甘肃天水人。玄宗开元初官至右武卫大将军（一说曾任左羽林大将军），世称“大李将军”。善画青绿山水，风格工巧繁缛，开创“金碧山水”一派。

画面内容与风格

自然景观

江天辽阔，风帆溯流，水面波纹粼粼。

山岭间长松、翠竹掩映，松叶古拙朴茂，林木错落参差。

山径层叠，文人雅士、行旅骑马悠游其间（人物服饰具中晚唐至北宋特点）。

建筑特色

院落依山势而建，非传统中轴对称布局，东侧设院门，南北接廊。

正殿为重檐歇山顶，灰瓦覆盖，檐下施斗栱（柱头“一斗三升”，阑额有补间铺作）。

建筑细节：直棂窗、格子门，梁柱、斗栱以朱色粉刷，墙面留白，呈现“白壁丹楹”的唐代风格，与青绿山水形成金碧辉映之效。

建筑等级较高，符合唐宋“非品官毋得起门屋，非宫室寺观毋得彩画栋宇”之制，推测为官员乡间宅第或寺观。

艺术技法

青绿设色浓丽古雅，山石以墨线勾勒轮廓，青绿渲染，少皴笔。

夹叶图案装饰性强，树石笔法遒劲，与敦煌中晚唐壁画近似。

断代与争议

此幅无作者款印，旧签定为李思训作，但学界普遍认为系后世仿作：

构图：与北京故宫藏隋展子虔《游春图》左半段高度相似，可能同源（或为挂轴形式的局部改编）。

时代特征：建筑形制、人物服饰（如中唐后幞头）及斗栱用材等，均体现晚唐至北宋特点。

结论：傅熹年等学者考订为北宋徽宗画院（1101—1125）仿作，底本或与展子虔风格相关。

学术价值

虽非唐画真迹，但保留了唐代青绿山水技法与金碧设色传统，是研究李思训画派及早期山水画演变的重要材料。

主题

主题(第一层)	主题(第二层)
山水
建筑	台阁
树木	松
人物	侍从（侍女、童仆）
人物	高士（士人、隐士）
人物	渔夫、船夫
山水	江河、湖海
走兽	骡．驴
船	帆船
船	渔船
树木
树木	杨柳

印记

印記類別	印主	印記
收傳印記	安岐	安
收傳印記	安岐	儀周鑑賞
收傳印記	宋理宗	緝熙殿寶
鑑藏寶璽	清內府印	石渠寶笈
鑑藏寶璽	宣統帝	宣統御覽之寶
鑑藏寶璽	清高宗	乾隆御覽之寶
鑑藏寶璽	清仁宗	嘉慶御覽之寶

Description

The buildings here were constructed along the slope of a hillside, and to the left and right of the entrance to the hall are corridors. The main building has a flaring rooftop composed of multiple eaves covered with earthenware tiles. The materials used for the brackets below the eaves are large; the column heads support triple brackets, while the walls are arranged with screen window panels. The bracketing system as well as beams and columns in this work were painted in red in the so-called “red column, white wall” manner. Combined with the blue-and-green landscape painting, it creates a resplendent effect. Depicted here is the building of an official or that of a temple. Based on the late T'ang dynasty and Northern Sung features of the architecture and clothing of the figures, this is probably an imitation done at the Painting Academy under Emperor Hui-tsung. Li Ssu-hsun, to whom this painting was originally attributed, was a member of the T'ang imperial family who went by the style name Chien and was a native of T'ien-shui, Kansu. In the early part of the K'ai-yuan era under Emperor Hsuan-tsung, he served to the post of Right Militant Guard General-in-chief.

The hip-and-gable roof of this building has double eaves. The bracket timber is large, while the tripartite brackets distribute the weight of the roof to the columns. Lattice windows decorate the walls. Brackets, beams, and columns are red. Standing out against the walls in the "white-and-red" style, they complement the "blue-and-green" style of landscape. This complex correlates well with ancient regulations for important buildings. Consequently, this was perhaps the countryside home of an official. Since the clothing is that of the High T'ang and the architecture that of the Sung, this was probably done in the Northern Sung (960-1126). Li Ssu-hsun, to whom this painting is attributed, was best known for his colored landscape paintings.