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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續編（養心殿），第二冊，頁946
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收藏著錄 |
故宮書畫錄（卷四），第二冊，頁23
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收藏著錄 |
故宮書畫圖錄，第十五冊，頁289-294
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參考書目 |
1.林柏亭、張華芝，〈宋李公麟免冑圖〉，收入林柏亭、張華芝編，《畫馬名品特展圖錄》（臺北：國立故宮博物院，1990年元月初版），頁85。
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內容簡介（中文） |
唐代宗永泰元年（西元七六五年），回紇等部率大軍入侵，郭子儀（六九七─七八一）奉詔守涇陽，寡不敵眾。回紇聞公名欲求見，子儀除去盔甲，領數十騎直入敵陣，見其大酋，回紇感其忠誠英勇，捨兵下馬禮拜。馬是貴族地位的象徵，也是將士忠誠伙伴。李公麟（一O四九─一一O六）創立以水墨鉤描線條的白描畫馬法，具有文人畫清逸雅淡的韻味，其傳世作品甚少，此圖亦是後人逕自加上傳稱的。
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內容簡介（英文） |
In 765, the T’ang dynasty was invaded by an army headed by Uighurs. Kuo Tzu-i (697-781) was ordered to defend Ching-yang but was hopelessly outnumbered. The advancing army heard of Kuo’s fame and requested a meeting. Kuo boldly dropped his weapons and met the chieftain with only a few cavalrymen. The Uighur chieftain was so impressed by Kuo’s loyalty to the T’ang and his bravery that he dropped his weapons, dismounted, and bowed.
Horses symbolized noble status and were used by military leaders. Li Kung-lin, who created the pai-miao technique of monochrome ink, gives this theme the elegant purity and refined classicism of literati painting. However, few of his works survive, and this work attributed to him is by a later hand.
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內容簡介（中文） |
唐代宗永泰元年（765），回紇等部率大軍入侵，郭子儀奉詔守涇陽，寡不敵眾。回紇聞公名欲求見，子儀除去盔甲，領數十騎直入敵陣，見其大酋。回紇感其忠誠英勇，捨兵下馬禮拜。此卷即以白描法畫此故實。畫中郭子儀俯身援手，以禮相見，體現從容大度一代名將的風範。此作衣紋線條流暢，頗具文人清逸之趣。幅上雖有李公麟（1049－1106）的署款，但從畫風觀之，當為後人所為。(20110913)
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內容簡介（英文） |
In 765, the Tang dynasty was invaded by a large army headed by the Uighurs. Guo Ziyi was ordered by the Tang court to defend Jingyang but was hopelessly outnumbered. When the advancing army heard of Guo’s renown, it requested a meeting with him. Guo thereupon took off his armor and led a few dozen cavalry to meet their chieftain. The Uighur chieftain was thereupon so impressed by Guo’s loyalty to the Tang and his bravery that he also dropped his weapons, dismounted, and bowed in respect. This story is illustrated using the “baimiao” (ink outline) method of painting. In the painting here, Guo Ziyi is shown leaning over and holding out his hand as a mutual sign of respect at the meeting, reflecting the composure and magnanimity of this famous general at the time. The lines in the drapery patterns in this work flow with ease, having much of the pure and untrammeled quality of literati painting. Although this work bears a signature of Li Gonglin, judging from the style, it appears to be a later addition.(20110913)
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