清李世倬畫山水 冊
Landscape Paintings
繪畫
| 文物統一編號 | 故畫003260N000000000 |
| 作品號 | 故畫00326000000 |
| 品名 |
清李世倬畫山水 冊 Landscape Paintings |
| 分類 | 繪畫 |
| 作者 | 李世倬 |
| 數量 | 一冊：十開（本幅十開十幅） |
| 類別 | 集叢名稱 | 件 | 開 | 幅 |
|---|---|---|---|---|
| 著錄細目 | 清李世倬畫山水 冊 清溪晚釣 | 01 | 01 | 01 |
| 著錄細目 | 清李世倬畫山水 冊 仿黃公望山水 | 02 | 02 | 02 |
| 著錄細目 | 清李世倬畫山水 冊 仿倪瓚山水 | 03 | 03 | 03 |
| 著錄細目 | 清李世倬畫山水 冊 扁舟夕照 | 04 | 04 | 04 |
| 著錄細目 | 清李世倬畫山水 冊 仿元人山水 | 05 | 05 | 05 |
| 著錄細目 | 清李世倬畫山水 冊 古岸脩篁 | 06 | 06 | 06 |
| 著錄細目 | 清李世倬畫山水 冊 江村暮雨 | 07 | 07 | 07 |
| 著錄細目 | 清李世倬畫山水 冊 秋林遠瀑 | 08 | 08 | 08 |
| 著錄細目 | 清李世倬畫山水 冊 楚山烟雨 | 09 | 09 | 09 |
| 著錄細目 | 清李世倬畫山水 冊 古木新篁 | 10 | 10 | 10 |
| 位置 | 尺寸(公分) |
|---|---|
| 本幅 | 43.9x30.3 |
| 質地位置 | 質地 |
|---|---|
| 本幅 | 紙 |
| 印記類別 | 印主 | 印記 |
|---|---|---|
| 收傳印記 | 一榻琴書 | |
| 收傳印記 | 王三錫 | 三（重二） |
| 收傳印記 | 王三錫 | 三錫 |
| 收傳印記 | 王三錫 | 三錫（重一） |
| 收傳印記 | 王三錫 | 王三錫（重一） |
| 收傳印記 | 王三錫 | 王三錫印（重一） |
| 收傳印記 | 王三錫 | 王生 |
| 收傳印記 | 泉聲樹色 | |
| 收傳印記 | 王三錫 | 游戲（重一） |
| 收傳印記 | 王三錫 | 畫中詩 |
| 收傳印記 | 樂琴書以自適 | |
| 收傳印記 | 機到筆隨（重一） | |
| 收傳印記 | 王三錫 | 錫（重二） |
| 收傳印記 | 王三錫 | 懷邦 |
| 收傳印記 | 王三錫 | 懷邦（重一） |
| 鑑藏寶璽 | 宣統帝 | 宣統御覽之寶 |
| 類別 | 參考資料 |
|---|---|
| 內容簡介 | 李世倬（卒於西元一七七0年），奉天（今遼寧瀋陽）人，字天章，一字漢章，號榖齋，別號十石居士。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。 此山水冊十幅，水墨、設色相間。圖中所作，凡溪山林木、水閣幽居、江岸野釣，以及所表現之雨、煙、夕陽等諸景緻，無不臻妙。而筆法枯硬，雖自題仿元人，然筆意荒率秀勁，則自成家法。 |
| 內容簡介 | 李世倬（西元一七四一－一七六五年前後）。字漢章。號榖齋。三韓人。兩湖總督李如龍之子。高其佩之甥。少年時，隨著父親宦遊江南。曾得王翬、馬逸的指導。所以山水很秀雋。畫寫意花鳥及果品。得舅舅指墨的影響。而另創一格。 本幅山水，用乾筆皴擦。用淡墨輕輕烘染。顯得細緻清雅。在風格上獨樹一幟。 |
| Description | 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. |
| Description | Li Shih-cho (style names T’ien-chang and Han-chang; sobriquets Ku-chai and Shih-chih chu-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 Yuan dynasty (1279-1368) style, the brushwork is casual yet beauitufully powerful, and thus in Li’s own style. |
| 收藏著錄 | 故宮書畫錄（卷八），第四冊，頁147 |
| 收藏著錄 | 故宮書畫圖錄，第二十五冊，頁120-123 |
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