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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈初編（重華宮），下冊，頁785
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收藏著錄 |
故宮書畫錄（卷八），第四冊，頁78
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收藏著錄 |
故宮書畫圖錄，第十七冊，頁21-22
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參考書目 |
1.童文娥，〈宋人江帆山市〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁154-155。
2.陳韻如，〈宋人江帆山市 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124-127。
3.童文娥，〈書畫菁華特展 — 宋人江帆山市〉，《故宮文物月刊》，第163期（1996年10月），頁47。
4.姜一涵，〈十二世紀三幅無名款山水故實畫(上)〉，《故宮季刊》，第十三卷第四期（1979年夏），頁25-53。
5.姜一涵，〈十二世紀三幅無名款山水故實畫(下)〉，《故宮季刊》，第十四卷第一期（1979年秋），頁45-57。
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內容簡介（中文） |
江上帆船一艘，船頭有繅車，後艙篷頂，籠畜雄雞一，蓋用以報曉取時。江波粼粼，用筆細挺。岸旁已停泊三舟，皆有籠雞之蓄。岸上有驅驢者，道逢相拜者，騎驢投店者。山道間，遠處迷濛，有駝隊成群。山谷中嵐煙凝白，飛鳥結陣，一片黃昏景色。兩山回抱而起，山峰結構及樹法、水波畫法，與燕文貴畫風極接近。
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內容簡介（英文） |
On the front of a boat in this painting is a winch, and bihind the cabin and sail is a rooster in a basket, probably kept there to announce the dawn. The lapping waves are represented in great detail with fine, straight lines. By the shore are three moored ships with caged roosters. On the bank are donkey drivers, figures climbing the hill for a visit to a temple, porters engaged in conversation as they walk, a rider on a donkey approaching a tavern, and a caravan of camels disappearing into the distance on a mountain road. The mist in the valleys is frosty white and highlighted by formations of birds in flight, suggesting a scene at dusk. The style of the hills building up towards the back as well as the trees and waves are close to that of Yen Wen-kuei (967-1044).
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內容簡介（中文） |
〈江帆山市〉畫面寬幅不大，其中描寫的活動卻十分豐富，不論是江上行舟、岸邊旅店、山中行旅或林間寺觀，各種行旅活動穿插於山水之間。根據文獻指出燕文貴（活動於十世紀後半－十一世紀前半）擅長造景，「隨景可愛」，畫中雖無款，據山頭的處理模式，以及舟船、人物之細膩描繪，可推測與燕文貴風格有關。(20061206)
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內容簡介（英文） |
Though this painting is not very large, the activities described herein are quite abundant. They take place in a variety of places throughout the landscape and on the water, including the boat making its way on the water, the inn by the shore, people traveling in the mountains, and the monastery tucked away among the trees. According to records, the court painter Yen Wen-kuei (fl. latter half of 10th c.-first half of 11th c.) is said to have excelled at creating scenery “pleasing in every scene”. Although this work bears no seal or signature of the artist, the method of treating the mountaintops as well as the detailed rendering of the boats and figures suggest that it is perhaps indeed related to the style of Yen Wen-kuei.(20061206)
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參考書目 |
劉芳如，〈宋人江帆山市 卷〉，收入《國寶的形成-書畫菁華特展》（臺北：國立故宮博物院，2017.10），頁166-169、316。
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參考書目 |
國立故宮博物院編輯委員會，〈宋人江帆山市 卷〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁154-155。
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