书体:

色彩:

水墨

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：宣统御览之宝

题跋资料:

主题:

主要主题：建筑房舍楼屋；次要主题：建筑桥 ；其他主题：建筑庭院 ；其他主题：建筑阶梯 ；次要主题：树木梧桐 ；其他主题：山水奇石 ；其他主题：山水溪涧、湍泉溪涧；其他主题：花草芦苇 

技法:

工笔 界画 皴法披麻皴皴法折带皴

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页355 收藏着录： 故宫书画录（卷八），第四册，页144 收藏着录： 故宫书画图录，第二十五册，页42-45 参考书目： 1.林莉娜，〈清焦秉贞山水楼阁(第二开)〉，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110-111。 内容简介（中文）： 此为一套没有纪年的水墨图作，仅有「臣焦秉贞恭画」款。全套十开皆描绘园林楼阁，针对建筑物的描绘十分讲究，特别运用比例大小的缩放来加强建筑物的深度效果。画中只有山水楼阁。全无人物活动，其中部份楼阁的布景与〈十二月令图〉的部份场景十分接近，本套册页或许正是一些清宫楼阁山水作品的图稿。焦秉贞的生卒年不详，活动记录最晚约到雍正朝，然在乾隆朝初期仍有被当作画样使用的记录。 内容简介（中文）： 焦秉贞（约活动于一六八九至一七二六年）字尔正，山东济宁人。康熙时任职钦天监五官正，与欧洲传教士南怀仁共事，是康熙画院中最早受到西洋画法影响的画家之一，亦是乾隆画院有是新进西洋传教士画家所学习的对象。此册页采单点透视法融入清式民居建筑中，数进屋宇院落自大至小，曲尽其致。园中门洞目的是构成景框，使园景产生特殊外貌。第二开绘秋景，梧桐、桂树、芦苇点缀图中，后方绘有卷棚带抱厦屋顶，（前后相接处不用屋脊，而做成弧线曲面。）进深三间前出廊；前方合瓦悬山屋面，檐下有支摘窗，（多用于园林建筑或住宅，大式小式建筑均可。外层上段可支起以利通风，下段可摘掉以利采光，窗心都是櫺条。）下为砖砌槛墙，盖在厚木板铺成的桥面上。右边另一栋建筑物四周有檐廊，北方称为格扇门，格心纹样为「一马三箭式」，（直櫺窗的一种，在纵列直櫺上下部位，各横置三根横条。）为明清宫殿的次要房屋常用，下方条环板与裙板都用彩画大理石纹装饰。灰瓦白墙没有奇巧华丽的房子，而小木作装修却尽量求变化，走细腻精致的路线。此画乃利用透视灭点法画成，根据图中透视线斜度的变化可推求出其灭点的准确位置。屋瓦、屋檐、廊柱、窗洞、桥樑、地面砖，皆运用淡墨渲染法，来区分建筑物的明暗面，以加强其立体感。(林莉娜) 内容简介（英文）： Chiao Ping-chen, a native of Shantung, served in the Directorate of Astronomy and learned Western techniques of painting. Shown here is Ch’ing-style architecture, which has no main ridge due to the curved features. Some roofs have overhanging gables, while below are eaves with propped window covers (which let in air and light and are often used in garden or residential architecture). The buildings rest on slab-lined walls. The building to the right has I-ma san-chien lattice windows (vertical slats with 3 horizontal members), often used in subsidiary palace structures during the Ming and Ch’ing. Here, Chiao Ping-chen used Western-style perspective and washes of ink to indicate shading, providing for a realistic effect. 内容简介（英文）： This set of monochrome ink paintings is undated and bears only the signature, “Painted by Your Servant, Chiao Ping-chen.” The album is composed of ten leaves all depicting buildings in garden settings. The attention paid to rendering the buildings is exceptionally detailed, especially in the use of relative size to enhance the suggestion of depth. The paintings include only buildings in landscapes--no human activity is evident. Some backgrounds to the buildings are very similar to those in “Activities of the Twelve Months,” examples from which are also on display here, suggesting that perhaps the album leaves here are related to other works of buildings in landscapes produced for the Ch’ing court. Chiao Ping-chen’s birth and death dates are unknown, but he is recorded as having been active up until the Yung-cheng reign (1723-1735), with documents indicating that his paintings were still in use as drafts in the early Ch’ien-lung reign (1736-1795).