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此圖乃記錄宋真宗景德元年(1004)契丹遣使韓杞奉書行宮請息兵納和，與曹利用偕來初議求關南地的史實，整卷幅上各以楷書標題，幅後附文記史。「契丹使朝聘」所繪建築由台基、柱身、斗栱、屋頂垂直疊加而成，主殿為歇山頂，左右兩側有耳殿相連，屋頂正脊兩端有鴟吻裝飾，鴟性好水，置於屋上以禁火災。垂脊與岔脊端則以獸頭終結。 屋檐兩角起翹，檐下一周在柱頭上使用「一斗三升」式斗栱，結構單純，頗顯疏朗，用材數較大。此殿身闊五間， 為加強當心間(正中一間)的重要性，增大其柱距，次梢間遞減。於次間殿前設踏道，採「兩階制」設東西階的做法，《禮記. 曲禮》說：「主人就東階，客就西階。」顯示出中國古代建築設計亦深受禮的制約。畫中亦可見散水磚設於台基下四周，以承受屋檐上滴下之水。
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本幅採用右圖左史形式, 記錄宋景德四年(一oo七)真宗召群臣於皇家藏書處太清樓, 觀太宗聖製御書及新寫四部群書情景. 樓閣由台基、柱身、斗栱、屋檐、平坐依垂直方向逐級疊加而成, 殿身面寬七間, 當心間柱距較寬, 次間、梢間遞減. 重檐歇山頂, 正脊有鴟吻裝飾, 垂脊與岔脊端有獸頭作結束. 此圖斗栱用材較大, 檐下柱頭斗栱使用一斗三升式, 沒有補間斗栱, 簡單有力, 頗顯疏朗. 殿堂踏道採唐宋左右「兩階制」的做法, 供賓主升降之用.(林莉娜)
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全卷分四段，前圖後文，各段並有榜書主題。依據研究，此卷應與皇祐元年（1049）宋仁宗同臣僚觀看的〈三朝訓鑒圖〉有關；〈三朝訓鑒圖〉錄宋太祖至真宗三朝事一百件，作為帝王訓鑒之用。 「契丹使朝聘」為景德二年（1005）遼使來賀真宗生日；「北寨宴射」是景德元年（1004）澶淵盟後真宗到北寨與武將宴射。「輿駕觀汴漲」景德三年（1006）宋真宗親巡汴河河堤的修整；「太清觀書」則是景德四年（1007）真宗召文臣觀書於太清樓。(20061206)
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本卷採用左史右圖形式，記錄宋真宗景德年間（西元一○○四—一○○七）的重要史實。
第一段「契丹使朝聘」描繪景德元年契丹遣使韓杞，奉請息兵納和的史實；第二段「北寨宴射」描繪真宗至北寨與武將宴射的景象；第三段「輿駕觀汴漲」描寫景德三年（一○○六）汴河氾濫，真宗親巡河堤修護的事件；第四段「太清觀書」呈現景德四年（一○○七）真宗召文臣觀書於太清樓的故實。(20110405)
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This handscroll has texts on the left and illustrations on the right, recording important events of Emperor Zhenzong’s Jingde reign (1004-1007). The first section is “Khitan Emissary Sending Respects to the Court,” depicting Han Qi (Khitan envoy to the Song court) making overtures for peace in 1004. The second is “Banquet and Archery at the Northern Stockade,” showing a scene of Zhenzong attending an archery banquet for generals at the Northern Stockade. The third part, “Viewing the Bian Flood from the Imperial Carriage,” shows the Bian River flooding in 1006 with the emperor personally viewing repairs to the levee. The last part, “Viewing Books at Taiqing,” depicts Zhenzong calling officials to view books at the Taiqing Tower library in 1007.(20110405)
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This handscroll is divided into four sections, the illustration appearing with text afterwards. Each section is also accompanied by a label for the subject. According to research, this handscroll is probably related to Emperor Jen-tsung accompanying officials in viewing the “Illustrated Admonitions for Reflection on the Three Reigns” in 1049. This was a collection of a hundred events from the reigns of the three Sung emperors T'ai-tsu, T'ai-tsung, and Chen-tsung used to instruct the ruler. “Court Emissary of the Khitan Offering Tribute” represents an event from 1005 (Ching-te 2nd year), in which an emissary from the Liao dynasty presented birthday blessings to Chen-tsung. “Military Exercises at Northern Stockade” is an event of 1004 (Ching-te 1st year) in which Chen-tsung went to Northern Stockade (Pei-chai) and held military exercises with his generals after signing the Ch'an-yuan Treaty of Alliance. “Imperial Carriage Harnessed to View the Rising Waters of Pien” took place in 1006 (Ching-te 3rd year), when Chen-tsung made a personal inspection of repairs to dikes along the Pien River. The last event is “Viewing Books at T'ai-ch'ing”, in which Chen-tsung convened literary officials to review books at the Great Purity (T'ai-ch'ing) Tower in 1007 (Ching-te 4th year).(20061206)
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This section of a narrative handscroll shows when Emperor Chen-tsung ordered officials in 1007 to the T'ai-ch'ing Hall, where imperial calligraphy was kept. They viewed the writings of the previous emperor T'ai-tsung (r. 976-997) and compiled texts. The T'ai-ch'ing Hall here is a symmetrical building with the wall facing the viewer composed of seven bays. The center bay is slightly wider than the others. The hip-and-gable roof with double eaves has ch'ih-wen end ornaments, and animal heads serve as hip ornaments. The timber used for the brackets appears quite large. Simple yet powerful, they create a solemn style reminiscent of the T'ang. In the "dual entry" formula here (found in the T'ang and Sung), the left stairs were for the host.
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This painting records four historical events that occurred in 1007 under the Sung emperor Chen-tsung. Each scene, introduced by a title written in standard script, consists of an illustration followed by an historical explanation. The first scene, entitled "Khitan Envoys Visiting the Chinese Court" depicts foreign emissaries bearing gifts. In the Chinese court, the emissaries and Chinese officials both exchange greetings and gifts. The second scene, entitled "Archery Banquet at the Northern Garrison," depicts a sung dynasty military event, where the full rank and file of the military practice and test their military skills. This scene is vividly rendered as though it were taking place right before one's eyes. The third scene, entitled "Riding a Carriage, Watching the pien River Rise", depict the emperor riding in a carriage in the capital K'ai-feng, supervising the river engineers and workmen who race against time to repair the barriers along the banks of the rapidly rising Pien river. The fourth scence, entitled "Viewing Books at the T'ai-ch'ing Pavilion", depicts the emperor Chen-tsung and his high-ranking officials at the T'ai-ch'ing Pavilion where the Imperial Library is housed. They have gathered there to review the books written under the first Sung emperor, T'ai-tsung, and the newly completed compendium commissioned by the emperor Chen-tsung. The architecture of the imperial buildings and the clothing of the people are all truthfully rendered. This scroll is a manifestation of the union of visual art and literary.
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石渠寶笈初編（御書房），下冊，頁1069
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故宮書畫錄（卷四），第二冊，頁88
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故宮書畫圖錄，第十七冊，頁29-32
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| 研究性論著 |
本幅採用右圖左史形式, 記錄宋真宗景德四年(1007)的史實, 幅上各以楷書標題, 幅後附文記史. 「太清觀書」為真宗召群臣於皇家藏書處太清樓, 觀太宗聖製御書及新寫四部群書情景. (註 1)畫家作正面俯瞰式描繪, 雖是皇宮一部份, 處理手法非常樸實. 建築結構單純肯定, 界畫線條簡勁有力.
殿身面寬七間, 當心間(居中的一間)柱距較大, 次、梢間遞減. 重檐歇山頂(宋稱九脊殿, 它由正脊、四條垂脊、四條戧脊背組成.)正脊兩端有鴟吻裝飾, 尾尖向內, 本身簡潔. 垂脊與岔脊端有獸頭作結束, 無仙人走獸. 鴟尾一般被認為是<<唐會要>>中所描述:「漢柏梁殿災後, 越巫言海中有魚虯, 尾似鴟, 激浪即降雨, 遂作其象於屋上以壓火祥.」明顯特徵是強調尾部, 向內自然翻轉, 五代、宋之後增加吞脊的口, 改稱為鴟吻. 經過歷代工匠的再美化創造, 而有鴟尾、鴟吻、龍吻造型的變化. 匾額懸掛於樓閣上層當心間前檐正中,<<營造法式>>稱之為「華帶牌」, 牌心書有「太清觀書」四字.
中國古代高層建築是由台基、柱身、斗栱、屋檐、平坐沿垂直線方向逐級疊加而成, 斗栱是減少橫梁與立柱交接點上的剪力特有的部件, 由若干梯形木塊 - 斗, 和弓形長木塊 - 栱, 層層裝配而成. 此圖斗栱用材較大, 合乎宋代規定七間殿宇的用材. (註 2)由斗上伸出橫栱, 栱之兩端成檐桁, 不見向外支出的翹. 檐下一周在柱頭處使用「一斗三升」斗栱, 沒有補間斗栱, 簡練有力, 頗顯疏朗, 較近於唐代之碩大雄壯.
殿堂採用唐宋時期「兩階制」設東西階的做法, 左右對稱, 供賓主升降之用.(註 3) 堂前廊道及踏道兩側皆圍以鉤欄, 柱頭上飾有寶珠仰蓮. 畫中可見散水磚設於台基下四周, 以受檐上滴下之水.
註 1: 宋初內廷藏書之最, 為太宗所置崇文院三館, 及其中秘閣.「棟宇之制皆帝親授, 後苑有太清樓, 由在崇政殿西北一樓, 與延一儀鳳翔一諸閣相接, 儲四庫書.」
註 2: 所謂「材」者指建築上所用的標準木枋, 即構成斗栱橫栱的木材, 宋代<<營造法式>>把材定為八個等份, 各有具體尺寸, 自一至八遞減. 建築物依其構架類型、間數規定可使用某一等級的材.
註 3: <<禮記. 曲禮>>中有記載, 在堂的前方設有東西階, 而正中無階. 由陜西西安唐大雁塔門楣石刻線畫(西元 704 年), 可見到唐代佛殿的東西階形象.(林莉娜)
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| 參考書目 |
1.林莉娜，〈宋人景德四圖(太清觀書)〉，收入林莉娜主編，《宮室樓閣之美 - 界畫特展》（臺北：國立故宮博物院，2000年初版），頁26-27、99。
2.國立故宮博物院編輯委員會，〈宋人景德四圖〉，收入國立故宮博物院編輯委員會編，《界畫特展圖錄》（臺北：國立故宮博物院，1986年初版），頁58。
3.陳韻如，〈宋人景德四圖 卷〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁136-141。
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| 網頁展示說明 |
本幅採用「右圖左史」形式，記錄宋真宗景德四年（1007）的史實，幅上各以楷書標題，幅後附文記史。「太清觀書」為真宗召群臣於皇家藏書處太清樓，觀太宗聖製御書及新寫四部群書情景。雖是皇宮一部份，處理手法非常樸實。建築結構單純肯定，界畫線條簡勁有力。
殿身面寬七間，當心間（居中的一間）柱距較大，次、梢、盡間遞減。匾額懸掛於樓閣上層前檐正中，牌心書有「太清觀書」四字，重檐歇山頂（宋稱九脊殿），正脊兩端有鴟吻裝飾。鴟吻一般被認為是<< 唐會要>>中所描述：「漢柏梁殿災後，越巫言海中有魚虯，尾似鴟，激浪即降雨，遂作其象於屋上以壓火祥。」傳說能避火，故將其形象用於建築脊飾。
中國古代高層建築是由台基、柱、斗栱、屋檐、平坐，沿垂直線方向逐級疊加而成，斗栱是減少橫梁與立柱交接點上的剪力特有的部件，由若干梯形木塊-斗，和肘形長木塊-栱，層層裝配而成。此圖斗栱用材較大，合乎宋代<<營造法式>>規定七間殿宇的用材。檐下一周在柱頭處使用「一斗三升」斗栱，簡練有力，頗顯疏朗，較近於唐代之碩大雄壯。
殿堂採用唐宋時期「兩階制」設東西階的做法，左右對稱，供賓主升降之用。堂前廊道及踏道兩側皆圍以鉤欄，柱頭上飾有寶珠仰蓮。畫中可見散水磚設於台基下四周，以受檐上滴下之水。(林莉娜)
１、<<營造法式>>由李誡（？？1110）奉旨編修，書成於宋哲宗元符三（1100）年，徽宗崇寧二年（1103）頒行列郡官署，作為營建工程通行的法式，紹興十五年（1145）重刊，是中國古代建築技術專書。
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| 網頁展示說明 |
This work takes the form of a narrative handscroll with an illustration on the right and text to the left. This scene shows when Emperor Chen-tsung (r. 998-1022) ordered officials in 1007 to the T'ai-ch'ing Hall, where imperial calligraphy was kept. There, they viewed the writings of Emperor T'ai-tsung (r. 976-997) and compiled texts.
The T'ai-ch'ing Hall shown here is composed of a raised foundation, a column, bracket, and eave system, and a projecting veranda around the building all arranged in an orderly and symmetrical manner. The wall facing the viewer is composed of seven bays. The center bay is slightly wider than the secondary and tertiary bays to either side. The hip-and-gable roof with double eaves has, at the top, ch'ih-wen ornaments at either end of the main ridge. Animal heads serve as hip ornaments. The timber used for the bracket sets appears quite large, transferring the weight of the roof to the columns under the eaves. Simple yet powerful, they create a straightforward style reminiscent of that from the T'ang dynasty (618-907). This work reveals a hierarchical "dual entry" system used in the T'ang and Sung dynasties, in which the left stairs were reserved for the "host" and the right for "guests."
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| 參考書目 |
鄭淑方，〈宋人景德四圖 卷〉，收入劉芳如、鄭淑方主編《四方來朝-職貢圖特展》（臺北：國立故宮博物院，2019.12），頁50-55，245-246。
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