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清李世倬對松山圖 軸
基本資訊
- 原始資料連結
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- 主題分類
- 建檔單位
- 作者李世倬
- 色彩設色
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@118.1x54.9
- 質地本幅@#@紙
- 題跋資料作者款識@#@李世倬@#@本幅@#@對松山。青壁雙起。盤道中旋。石齒樹生。雲衣晴見。當泰岱之半。景為最奇。臣李世倬恭繪。@#@楷書@#@@#@題跋@#@清高宗@#@本幅@#@命李世倬視孔廟禮器。迴路圖此以獻。因題一律。御筆。@#@行書@#@景行積悃望宮墻。視禮先期命太常。詎為嘉陵馳去傳。却攜泰嶽入歸裝。天關虎豹常嚴肅。松磴虬龍鎮鬱蒼。便是明年登眺處。好教雲日仰仁皇。命李世倬視孔廟禮器。迴路圖此以獻。因題一律。御筆。
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@嘉慶鑑賞@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫@#@@#@鑑藏寶璽@#@寶笈三編@#@@#@鑑藏寶璽@#@宣統御覽之寶
- 主題主要主題@#@山水@#@名勝@#@@#@次要主題@#@樹木@#@松@#@@#@其他主題@#@建築@#@亭@#@@#@其他主題@#@山水@#@山徑@#@@#@其他主題@#@人物@#@高士（士人、隱士）@#@士人@#@@#@其他主題@#@人物@#@侍從（侍女、童僕）@#@轎夫
- 技法苔點@#@@#@皴法
- 參考資料收藏著錄@#@石渠寶笈三編（延春閣），第五冊，頁2285@#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁564@#@@#@收藏著錄@#@故宮書畫圖錄，第十一冊，頁369-370@#@@#@內容簡介（中文）@#@李世倬（？－西元一七七0年），字天章，一字漢章，號榖齋，別號十石居士，奉天（今遼寧瀋陽）人。乃指墨大家高其佩甥，善畫山水、人物、花鳥、果品，筆意秀雋，喜以焦墨細擦，頗得輕重淺深之致。 本幅繪石磴雲峰，蒼松夾峙，行旅乘竿迴旋其間。幅左并有李世倬題句一行，文曰：「青壁雙起，盤道中旋，石齒樹生，雲衣晴見，當泰岱之半，景為最奇。」@#@@#@內容簡介（中文）@#@東嶽泰山為五嶽之首，別名「岱宗」，位於山東省泰安縣北，自古為皇帝巡行、封禪常到之地。泰山勝景以古松著稱，此幅泰山圖即以山中松林為主題。作者李世倬（一六八七－一七七0），字天章，瀋陽人，官至左副都御使，乾隆年間，奉旨辦理孔廟禮器，歸途作此泰山圖上呈乾隆皇帝，畫幅上方因有乾隆題詩一首。畫中山徑曲折深入雲間，有漸行漸遠山勢無比崇高的感覺。@#@@#@內容簡介（英文）@#@The Eastern Peak, Mount T’ai, is known as the “head” (tsung) of the Five Sacred Peaks, hence the name “Tai-tsung (Head Above)”. In northern T’ai-an county, Shantung, it was in antiquity the site of imperial visits to perform sacrifices to the heavens and earth. Mount T’ai is famous for its ancient pines, the subject here (hence known as Tui-sung [“Facing Pines”]). Li Shih-cho, a native of Shen-yang, served to the post of Left Assistant Censor-in-Chief. In the Ch’ien-lung era, he was imperially commissioned to supervise producing ritual vessels at the Temple of Confucius. He did this work on his return to court and offered it to the Ch’ien-lung Emperor, who inscribed a poem in the upper part. The path here twists into the clouds above for a lofty feeling.@#@@#@內容簡介（英文）@#@Li Shih-cho was a native of T'eng-t'ing (modern Shen-yang, Liaoning Province). His style name was Han-chang and his sobriquets were Ku-chai and Shih-chih chu-shih. A nephew of the great figure painting specialist Kao Ch'i-p'ei, he excelled at landscapes, figures, birds and flowers, and vegetables and fruits. Li's brush style was extremely skillful and elegant. He liked to spread dry ink across the surface of a painting, achieving contrasting light and dark effects with brushwork of varying thicknesses. This painting depicts a cloud-encircled peak with stone steps. Green pines line the path. Travellers in sedan chairs weave their way up the incline. On the left is the artist's inscription.
- 地圖
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