书体:

色彩:

水墨

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宝笈三编
鑑藏宝玺：宣统御览之宝
收传印记：慧辩知贤印章
收传印记：司印(半印)

题跋资料:

题跋类别：作者款识；作者：萧照；题跋位置：本幅；款识：萧照楷书

主题:

主要主题：山水  ；其他主题：山水江河、湖海 ；其他主题：人物行旅 ；其他主题：建筑寺庙 ；其他主题：山水石磴、栈道 ；其他主题：人物渔夫、船夫 ；其他主题：山水瀑布 ；其他主题：树木  

技法:

皴法斧劈皴

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第三册，页1479 收藏着录： 故宫书画录 (卷五)，第三册，页76-77 收藏着录： 故宫书画图录，第二册，页49-50 收藏着录： 国宝再现-书画菁华特展，页114-123、225 参考书目： 1.许郭璜，〈宋萧照画山腰楼观〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页110-111。2.〈宋萧照山腰楼观〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页227。3.陈韵如，〈画山腰楼观〉，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357。4.廖尧震，〈微醺西湖畔，对影六七幅　南宋小景山水的诗情画境〉，《典藏古美术》，第217期(2010年10月)，页102-109。5.陈韵如；〈两宋山水画意的转折──试论李唐山水画的画史位置〉，《故宫学术季刊》，第二十九卷第四期（2012年夏），页75-107。 内容简介（中文）： 萧照，濩泽（今山西阳城）人。颇有学识，亦好绘画。靖康元年（西元一一二六年）于太行山与人结夥为盗。一日劫获画家李唐，乃放弃为盗，随之南渡，于南宋高宗绍兴元年（西元一一三一年）入画院为待诏。 在画幅中间绝壁处，有「萧照」二字落款。从画中斧劈皴法之运用，可看出其深受李唐之影响，不仅形似，神韵亦相当接近。 内容简介（中文）： 萧照，（西元十二世纪）山西濩泽人。颇知书，亦善画。靖康中流入太行山为盗，一日掠获李唐，素慕唐名，即辞贼随唐南渡，从唐学画，绍兴间入画院。 高山见其半壁，溪流傍山，空旷清远。画法与李唐一脉相承，惟皴山笔法，与唐相较，差见变化耳。款书两字，在舟子头顶最高绝壁处。 内容简介（中文）： 画幅中央绝壁处外侧，有「萧照」二字款署。传说北宋末年他于太行山为盗，一日劫获李唐，才随之习画，后亦入南宋画院。本幅左侧画山岩崖壁，岩块多方折峻峭。由此中段山体延伸而出一平台岩块，上立有二人相对与谈，似正在远眺对岸景致。 此画山体构成已脱去北宋大观式山水巨障效果，而与李唐〈万壑松风图〉讲究物象丰厚的近观山水相近，借坚实岩块、迷茫远山，营造出实、虚相对的景致。(20101015) 内容简介（英文）： In this painting is one side of a central precipice along with a signature of two characters for “Xiao Zhao.” Legend has it that Xiao was a bandit in the Taihang Mountains in the late Northern Song when he tried to rob the fleeing court artist Li Tang, who taught him instead how to paint, and Xiao later entered the Southern Song Painting Academy as well. The left side of this work is composed of a soaring precipice with many sharp and craggy rocks. From the central part of the mountain form extends a rocky outcropping, upon which stand two figures talking with each other and appearing as if looking out and admiring the beautiful scenery on the distant banks. This work has already begun to depart from the majesty of Northern Song monumental landscape painting, being more similar to the up-close style of scenery focusing on the details and richness of forms as seen in Li Tang’s “Wind in Pines Among a Myriad Valleys.” With the solid rocks and misty distant mountains, it creates a beautiful scene of contrasting solids and voids.(20101015) 内容简介（英文）： Streams cascade down the side of a high mountain, only part of which is visible on the left-hand side of the painting, while on the right a level plain stretches off into the distance. Hsiao Chao's painting methods were acquired from Li T'ang, but only his handling of the texture strokes that model the mountains can be compared with Li's; furthermore, Hsiao's subjects are not painted with the same versatility as his teacher's. The two characters of the artist's signature can be seen in mid-air below the tree that overhangs the cliff in the center of the painting. Hsiao Chao, a native of Huo-tse, Shansi, excelled at both calligraphy and painting, In 1126 he became a bandit in the T'ai-hang mountains. There he once captured in a raid the famous artist Li T'ang, whom he had long admired, and ended up following him to the re-established court in the South. Hsiao consequently studied painting with Li and in the Shao-hsing era(1131-1163) entered the Imperial Academy of Painting. 内容简介（英文）： Hsiao Chao, a native of Hu-ts'e (modern Yang-ch'eng, Shansi), was a learned man who practiced calligraphy and painting. In 1126, with the fall of the Northern Sung, he took to the T'ai-hang mountains as a bandit. After he met the famed artist Li T'ang, he abandoned his life of banditry and became Li's student. In 1131, Hsiao entered the painting academy under Emperor Kao-tsung. Hsiao Chao inscribed his name in the center to the right of the cliff face below the tree leaves. Above a moored boat, two figures stand pointing out to the vast misty landscape. Figures walk up to the buildings in the upper left. Hsiao is indebted to Li T'ang not only for the "axe-cut" texture strokes, but also for the overall spirit of this painting.