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册(折装)

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质地:

本幅纸

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印记资料:

鑑藏宝玺：宣统御览之宝
收传印记：游戏（重一）
收传印记：三（重二）
收传印记：锡（重二）
收传印记：三锡（重一）
收传印记：怀邦
收传印记：三锡
收传印记：怀邦
收传印记：王三锡（重一）
收传印记：怀邦（重一）
收传印记：王生
收传印记：王三锡印（重一）
收传印记：怀邦
收传印记：画中诗
收传印记：机到笔随（重一）
收传印记：乐琴书以自适
收传印记：泉声树色
收传印记：一榻琴书

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参考资料:

收藏着录： 故宫书画录（卷八），第四册，页147 收藏着录： 故宫书画图录，第二十五册，页120-123 内容简介（中文）： 李世倬（卒于西元一七七0年），奉天（今辽宁沈阳）人，字天章，一字汉章，号榖斋，别号十石居士。乃指墨大家高其佩甥，善画山水、人物、花鸟、果品，笔意秀隽，喜以焦墨细擦，颇得轻重浅深之致。此山水册十幅，水墨、设色相间。图中所作，凡溪山林木、水阁幽居、江岸野钓，以及所表现之雨、烟、夕阳等诸景致，无不臻妙。而笔法枯硬，虽自题仿元人，然笔意荒率秀劲，则自成家法。 内容简介（中文）： 李世倬（西元一七四一－一七六五年前后）。字汉章。号榖斋。三韩人。两湖总督李如龙之子。高其佩之甥。少年时，随着父亲宦游江南。曾得王翬、马逸的指导。所以山水很秀隽。画写意花鸟及果品。得舅舅指墨的影响。而另创一格。本幅山水，用干笔皴擦。用淡墨轻轻烘染。显得细致清雅。在风格上独树一帜。 内容简介（英文）： Li Shih-cho (tzu Han-chang, hao Ku-chai) came from San-nan in Korea and was the son of Li Ju-lung, Governor-General of Hunan and Hupei, and the nephew of the painter Kao Ch’i-p’ei. In his youth he accompanied his father on an official assignment to Kiangnan and received instruction in painting from Wang Hui and Ma I. Therefore his landscapes are characterized by elegance and substantiality. He also did free sketches of flowers, birds, and fruits which reveal the influence of his uncle’s style. This landscape was painted with a dry brush and rubbed texture strokes, overlaid with pale washes of bland ink. The whole conveys an elegance which is highly detailed but not heavy, and its style is unique. 内容简介（英文）： Li Shih-cho (style names T’ien-chang and Han-chang; sobriquets Ku-chai and Shih-chih chü-shih) was a native of Feng-t’ien (modern Shen-yang, Liaoning). A nephew of the great finger painting specialist Kao Ch’i-p’ei (1672-1734), he excelled at depicting landscapes, figures, birds and flowers, and vegetables and fruits. Li’s brush style was extremely skillful and elegant. He liked to use dry ink across the surface of a painting, achieving contrasting effects of light and dark with brushwork of varying thicknesses. This leaf is from an album of landscapes done alternately in monochrome ink and colors. The paintings include depictions of mountain streams, forests, waterside kiosks, tranquil retreats, fishing on river banks, and the representation of scenery of rain, mist, and sunset in their unlimited marvels. The brushwork is dessicated and stiff. Though self-inscribed as imitating the Yüan dynasty (1279-1368) style, the brushwork is casual yet beauitufully powerful, and thus in Li’s own style.