书体:

色彩:

浅设色

装裱形式:

册(蝴蝶装‧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：乾隆御览之宝

题跋资料:

主题:

主要主题：山水  ；次要主题：山水江河、湖海 ；次要主题：树木  ；次要主题：建筑亭 ；其他主题：山水山径 ；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：人物渔夫、船夫船夫；其他主题：花草芦苇 ；其他主题：船 帆

技法:

写意 皴法斧劈皴人物衣纹描法(减笔) 

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页736 收藏着录： 故宫书画录（卷六），第四册，页258 收藏着录： 故宫书画图录，第二十八册，页364-367 参考书目： 1.何传馨，〈无款远水扬帆〉，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年七月初版），页96。2.葛婉章，〈宋人远水扬帆〉，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257。3.葛婉章，〈「七十件书画册页名品特展」精选(六) — 宋人远水扬帆〉，《故宫文物月刊》，第152期（1995年11月），页78-79。4.陈韵如，〈远水扬帆〉，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360-361。 内容简介（中文）： 江边危岸，林树交荫，其下茅亭可以凭眺。一人白衣持杖，尾随琴吟游江渚间之逸士也。沙洲水畔，芦苇丛生。江帆三艘，飞驶江心，青山数抹，违浮天际。而江风劲疾，木叶萧苇蓬帆，皆顺成一向，跛石画船设色，皆与李唐江山小景眷近似。 本幅选自「历朝名人图绘」册第五幅。 内容简介（中文）： 此作无款。左侧画一江边坡岸，坡岸高处有一草亭，应是画中持杖人物正要前往的赏景佳处。右侧为辽阔江水，其上有三艘江船，正因风吹帆满，似往右侧前行。笔墨虽承自李唐〈江山小景〉，但质面皴线略显短劲，画中山石、人物造型则似夏珪〈溪山清远〉。画中并采青绿设色，辅以墨笔构成山石，说明南宋后期，除马、夏二家典型作风外，延续李唐画风又兼具马、夏二家特质的调和风格亦据一席之地。(20101015) 内容简介（英文）： The shore of a river appears in the left part of this unsigned painting. At the highest point of the sloped bank is a thatched pavilion, which is probably the place to which the figure holding a staff is making his way for appreciating the beautiful scenery. The right part of the work consists of an expansive stretch of river, where three boats with sails filled by the wind are traveling off to some place off on the right.Although the brush and ink derive from that seen in Li Tang’s “Intimate Scene of River and Mountains,” the faceted texture strokes are clearly shorter and the forms of the figures and landscape elements more closely related to those in Xia Gui’s “Pure and Remote Mountains and Streams.” The painting also employs blue-and-green coloring that assists the landscape of brush and ink, indicating a later Southern Song style. In addition to the typical stylistic elements of Ma Yuan and Xia Gui, it also continues in the Li Tang manner, harmoniously combining the qualities of these artists into a single style sometime during the late thirteenth century.(20101015 内容简介（英文）： Beside a river with lofty banks rises a stand of densely interlocked trees. Beneath them rests a thatched hut commanding a splendid view from its place of prominence. Attended by a boy carrying a lute, a white-robed figure holding a staff approaches. He may be a retired official rambling among the river inlets and sandbars singing Nature's praises. Along the shoals of the river bank, clumps of reeds grow abundantly, and three sailing vessels speed forward upon the water. Green hills extending far into the distance grow hazy and fade away as if floating into the sky. A strong breeze may be discerned as the leaves, reeds and sails all bend and sway in one direction. The texturing strokes employed in the depiction of the rocks and boats and the chosen color arrangement are all similar to those found in "Small Scene of Rivers and Mountains" by Li T'ang (ca. 1049-after 1130). This painting is the fifth leaf from the album Li-chao ming-jen t'u-hui. 研究性论着： 画江边危岸，林树交荫，一人白衣持杖，琴童尾随于后，正向林荫茅亭方向行去。岸边沙洲水畔，芦苇丛生。江帆三艘，飞驶江心，青山数抹，远浮天际。而江风劲疾，木叶、萧苇、篷帆，皆顺成一向。综观此画左侧危岸林树夹叶密质，石块以小斧劈横侧成形，树干及石块的轮廓线用笔瘦硬方劲，以墨为主，褚红为辅的设色方式，以及江帆、波水的画法，其沈郁凝重之态，老辣神奇之笔，皆与南北宋之交的画家李唐( 约西元1049一1130年后 ) 画卷「江山小景」 ( 注1)笔法风格近。唯李画之江山云树、楼阁帆舟，通幅下实上虚，实景部份安排紧密，本幅构图则为左实右虚，较之李画更显空灵．颇似撷取，江山小景，之一角。此外，本幅中高士主仆笔法及行走姿态，又接近南宋画家夏珪( 活动于1195一1264 ) 「溪山清远」， ( 注2 ) 的人物。通幅观之，或为南宋李唐、夏珪稍后，传承二者风格的小品之作。 (葛婉章)注1图见国立故宫博物院编，《故宫宋画精华》（台北:国立故宫博物院，1975－1976），中卷，图版29。注2:图见《故宫宋画精华》下卷，图34、35。