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-UniqueID,URL,文物名称,基本資料,典藏尺寸,質地,題跋資料,印記資料,主題,技法,參考資料,保存維護
-14729,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14729?dep=P&mode=full,唐吳道子寶積賓伽羅佛像　軸,"{""文物統一編號"": ""故畫000008N000000000"", ""作品號"": ""故畫00000800000"", ""品名"": ""唐吳道子寶積賓伽羅佛像　軸\nThe Buddha of Accumulated Treasure and Incense"", ""分類"": ""繪畫"", ""作者"": ""吳道子"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""114.1x41.1""}, {""位置"": ""邊幅題紙"", ""尺寸(公分)"": ""22.6x7.9""}, {""位置"": ""全幅"", ""尺寸(公分)"": ""233x63.3""}]","[{""質地位置"": ""邊幅題紙"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""宋徽宗"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""楷書"", ""全文"": ""唐吳道子寶積賓伽羅佛。""}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""邊幅"", ""款識"": ""庚寅（西元一七七０年）新正御贊。"", ""書體"": ""行書"", ""全文"": ""金甲裝校。現賓伽羅以威神力。降伏諸魔。寳蓋住空。八部拱手。既舞既歌。亦空亦有。瘦金所識。道子作圖。如水中月。是乎否乎。庚寅（西元一七七０年）新正御贊。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""（雙龍璽）""}, {""印記類別"": ""收傳印記"", ""印主"": ""李煜"", ""印記"": ""房之印（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""政和""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""御書（葫蘆印）""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""太上皇帝之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""珠林重定""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""秘殿珠林""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""秘殿新編""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾清宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""佛"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""伎樂"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""飛天"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""羅漢（應真、尊者）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""儀仗（佛教寶蓋）"", ""主題說明"": ""寶蓋""}]","[{""技法"": ""人物衣紋描法(勻稱線條)"", ""技法細目"": """"}, {""技法"": ""工筆"", ""技法細目"": """"}]","{""內容簡介"": ""吳道子（？–西元七九二年），陽翟人，玄宗時，召入供奉為內教博士，並為更名道玄。善畫鬼神、鳥獸、草木、山水台閣，尤長於道釋人物。用筆能於東晉顧愷之以來，流行之鐵線描外，別創蓴菜描法，故衣紋有臨風飄蕩之勢。著色則採淡暈薄罩的淺染法，時稱「吳裝」。開後世人物畫典則，被尊稱「百代畫聖」。此像即世所謂北方天王，為盛唐以後最受尊奉之佛像之一。"", ""Description"": ""Wu Tao-tzu came from Yang-ch'u. He was summoned by the Emperor Hsuan-tsung (r.813-855) to serve as an imperial tutor and given the name \""Tao-hsuan,\"" the same name as the Emperor. He was an accomplished painter of demons, birds, animals, landscapes, and architecture, but his special talent was for Taoist and Buddhist deities. In addition to following the tradition of outline drawing in steely lines which had been popular since the days of Ku K'ai-chih, he also introduced a technique of line drawing in which the same line could be both broad and thin, thus being able to express the effect of clothes blowing in the wind. The phrase \""Wu clothing\"" was used to describe this technique. Wu Tao-tzu established the canons for later generations of figure painters. He has been called the \""painting saint for a bundred ages.\"" This form of the Buddha, also called the King of the North, was the most popular form during the High T'ang period."", ""收藏著錄"": [""秘殿珠林續編（乾清宮），頁62"", ""故宮書畫錄（卷五），第三冊，頁6"", ""故宮書畫圖錄，第一冊，頁19-20""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000008N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000008N000000000')""}]}"
-14891,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14891?dep=P&mode=full,唐韓幹洗馬圖　軸,"{""文物統一編號"": ""故畫000010N000000000"", ""作品號"": ""故畫00001000000"", ""品名"": ""唐韓幹洗馬圖　軸"", ""分類"": ""繪畫"", ""作者"": ""韓幹"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""30.5x37.7""}, {""位置"": ""詩塘二"", ""尺寸(公分)"": ""12.1x46.7""}, {""位置"": ""邊幅"", ""尺寸(公分)"": ""30.5x4.4""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}, {""質地位置"": ""詩塘一"", ""質地"": ""紙""}, {""質地位置"": ""詩塘二"", ""質地"": ""紙""}, {""質地位置"": ""邊幅"", ""質地"": ""綾""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘一"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""超相。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""太上皇帝之寶""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘二"", ""款識"": ""乾隆戊午（西元一七三八年）首夏御題。"", ""書體"": ""行書"", ""全文"": ""不凋氣體尚猶存。鞍鞁弗施自在原。祗以譽師排弟子。少陵未免過苛論。乾隆戊午（西元一七三八年）首夏御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""太上皇帝""}, {""印主"": ""清高宗"", ""印記"": ""十全老人""}]}, {""題跋類別"": ""題跋"", ""作者"": ""謝表"", ""位置"": ""邊幅"", ""款識"": ""太常寺博士謝表敬觀"", ""書體"": ""楷書"", ""全文"": ""韓幹真蹟。太常寺博士謝表敬觀。""}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（半印一不可辨）""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""內府（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""宣和（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""政（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""晉府書畫之印""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""龢（半印）""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""五福五代堂寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""圉人"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""馬"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}, {""技法"": ""苔��"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1359"", ""故宮書畫錄（卷五），第三冊，頁7"", ""故宮書畫圖錄，第一冊，頁23-24""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000010N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000010N000000000')""}]}"
-22,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/22?dep=P&mode=full,六朝梁張僧繇雪山紅樹圖　軸,"{""文物統一編號"": ""故畫000001N000000000"", ""作品號"": ""故畫00000100000"", ""品名"": ""六朝梁張僧繇雪山紅樹圖　軸\nSnowy Mountains and Red Trees"", ""分類"": ""繪畫"", ""作者"": ""張僧繇,明人 Anonymous,Ming Dynasty,Zhang Sengyou,Liang dynasty"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""118x60.8""}, {""位置"": ""全幅"", ""尺寸(公分)"": ""276x87""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""張僧繇"", ""位置"": ""本幅"", ""款識"": ""僧繇"", ""書體"": ""楷書"", ""全文"": """"}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""青女遺素英。少男皴粉白。依然五大夫。須髪轉寒碧。丹楓未落盡。臨風鳴瑟瑟。墜黏文石凹。似點壽陽額。斷橋驢背人。彷彿孤山客。乾隆庚申（西元一七四０年）御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}, {""印主"": ""清高宗"", ""印記"": ""幾暇臨池""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（一印存半山二字）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（一印漫漶不可識）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""子孫億世家傳之寶""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""合同""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""米芾畫禪烟巒如覿明說克傳圖章寶錫""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""李氏珍藏書畫之印""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""御府之印""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""梁溪華氏家藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""墨林""}, {""印記類別"": ""收傳印記"", ""印主"": ""歐陽玄"", ""印記"": ""霜華山人""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑑藏寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""齋館"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(勻稱線條)"", ""技法細目"": """"}, {""技法"": ""工筆"", ""技法細目"": """"}]","{""內容簡介"": [""全幅以淡墨勾勒物象，捨棄皴法，再敷以青綠、朱紅、白粉等色彩。重複出現圓弧狀造型的山體，呈現一種古拙感。\r\n　本幅原題為〈六朝梁張僧繇雪山紅樹圖〉，據唐宋史籍所載，張僧繇（活動於六世紀前半）專長以外來的凹凸畫法繪製佛道人物壁畫。晚明時期流傳許多張僧繇的「沒骨山水」，且有董其昌、藍瑛等人的臨仿作品。此幅應是晚明時期對張僧繇畫風的揣摩與想像。\r\n(20120103)"", ""張僧繇（約西元六世紀初），蘇州人，曾任武陵王國侍郎、直祕閣知畫事，官至右軍將軍。梁武帝崇信佛教，命僧繇在佛寺畫壁畫，他善作凹凸立體的花紋，畫風帶著外來的影響。群山被大雪所埋，山齋一人憑欄而坐，溪橋有人騎驢而來。一片銀白的雪霽山色與紅樹綠葉交相輝映，色彩鮮麗明快。畫幅右側雖有「僧繇」兩字款，疑為晚明仿其畫風之作。""], ""Description"": [""Chang Seng-yu was a native of Soochow and held various government positions. Emperor Wu of the Liang was an ardent believer in Buddhism and commissioned him to execute wall paintings for a Buddhist temple. Chang Seng-yu excelled at rendering the illusion of three-dimensional forms, and his painting style shows traces of foreign influence. In this work, amid snow-covered mountains, a man is seated in his studio and leans on a balustrade. Guests approach over a bridge, one mounted on a donkey. The silvery white of the snowy mountains and the red and green leaves of the trees are vibrant. Although the artist's signature, Seng-yu, appears on the left side of the painting, it was perhaps executed by an artist in the late Ming (1368-1644)."", ""This work in light ink outlining the forms eschews texture methods but adds shades of blue-green, vermilion, and powdery white. The repeated bun-shaped mountains reveal an archaic simplicity. This painting was originally titled as by the Six Dynasties artist Zhang Sengyou (fl. first half of 6th c.). According to Tang and Song dynasty sources, Zhang specialized in Buddhist and Taoist wall painting using foreign “convex-concave” decorative methods. However, many “Zhang Sengyou” works in the late Ming dynasty were landscapes in the “boneless” wash method, and were imitations done by such painters as Dong Qichang and Lan Ying. Perhaps this work is also a careful yet imaginative view of Zhang Sengyou’s painting style from the late Ming.(20120103)""], ""收藏著錄"": [""石渠寶笈初編（養心殿），上冊，頁640"", ""故宮書畫錄（卷五），第三冊，頁1"", ""故宮書畫圖錄，第一冊，頁1-2""], ""參考書目"": ""1.林莉娜，〈六朝梁張僧繇雪山紅樹圖〉，收入林莉娜、張華芝編，《冬景山水畫特展圖錄》（臺北：國立故宮博物院，1989年元月初版），頁53。\r\n2.何傳馨，〈(原題六朝梁張僧繇)雪山紅樹圖〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁239。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000001N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000001N000000000')""}]}"
-15553,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/15553?dep=P&mode=full,唐李昭道春山行旅圖　軸,"{""文物統一編號"": ""故畫000005N000000000"", ""作品號"": ""故畫00000500000"", ""品名"": ""唐李昭道春山行旅圖　軸\nTraveling through Mountains in Spring"", ""分類"": ""繪畫"", ""作者"": ""李昭道,Li Zhaodao"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""95.5x55.3""}, {""位置"": ""錦眉"", ""尺寸(公分)"": ""5.2x55.4""}]","[{""質地位置"": ""錦眉"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": """", ""位置"": ""錦眉"", ""款識"": """", ""書體"": ""楷書"", ""全文"": ""唐李昭道春山行旅圖。""}, {""題跋類別"": ""題跋"", ""作者"": ""朱彝尊\n印記\nexpand_more"", ""位置"": ""邊幅"", ""款識"": ""竹垞老人朱彝尊"", ""書體"": ""隸書"", ""全文"": ""前喆聲華不可接。得見風徽在遺墨。曾入思陵內府藏。摩挲寶翰猶堪識。遙情繪作春山圖。錦韉玉勒勞行役。前者回望後者應。蒼崖懸磴迷層叠。樹色陰濃遠近間。雲光嵐影都無迹。倦頓何妨暫息肩��仰瞑渴飲聊偷逸。巨坡平掌心亦安。翹首高原苦曲折。要知作意豈徒然。慎爾馳驅此登歷。睛窗試我老眼明。指點群峰皆嶻嶭。（隸書）。竹垞老人朱彝尊。"", ""印記資料"": [{""印主"": ""朱彝尊"", ""印記"": ""竹垞""}, {""印主"": ""朱彝尊"", ""印記"": ""太史氏""}]}, {""題跋類別"": ""題跋"", ""作者"": ""孫承澤\n印記\nexpand_more"", ""位置"": ""邊幅"", ""款識"": ""康熙壬申夏五月。北平孫承澤。"", ""書體"": """", ""全文"": ""唐人畫刻入者。推二李為宗。劉趙輩得其緒餘。皆足以名世而不朽。細筆鈎染。實開風氣之先。牛毛繭絲。工力悉敵。誠無間然也。是幀春山行旅圖。為李昭道真蹟。經徽廟題識。蓋院本所作。皆在內廷。未能流播於外。故傳世甚少。今歷久而猶精湛。豈神物呵護之耶。康熙壬申夏五月。北平孫承澤。"", ""印記資料"": [{""印主"": ""孫承澤"", ""印記"": ""孫承澤印""}, {""印主"": ""孫承澤"", ""印記"": ""深山閉戶""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（半印一不可識）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""內府圖書""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""壬戌狀元""}, {""印記類別"": ""收傳印記"", ""印主"": ""鄭明德"", ""印記"": ""鄭明德氏""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""春景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""仕女"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""軍士"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""石磴、棧道"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""馬"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(勻稱線條)"", ""技法細目"": """"}, {""技法"": ""無皴"", ""技法細目"": """"}]","{""內容簡介"": [""李昭道（活動於西元七一三—七四一年前後），李思訓之子，官至太原府倉曹，直集賢院。畫山水能發揚家學，與父齊名，號小李將軍。作品構圖繁巧，雲水樹山，喜用細筆勻線勾畫出形廓，然後染赭石、石青、石綠重色。甚或於其上加添泥金勾勒，特有富麗堂皇之感。後世學習其畫法者極多，本幅即為一例，若以風格論之，或為清初之作。"", ""畫雖名〈春山行旅圖〉，實際描繪唐玄宗避安史之亂，逃往四川之歷史事件。右方縱谷一人馬隊伍由山頂下至谷地，小橋前騎馬人物即為唐明皇。全幅雲氣繚繞、山勢崢嶸、山徑迴轉，並強調懸空搭建的棧道，採世傳〈明皇幸蜀圖〉構圖模式。青綠設色，細勁線條勾勒山石，承襲唐代李昭道青綠山水風格。畫上仿宋徽宗題字、「內府圖書」及「御前之��」半印皆偽；畫當成於十七世紀。(20091016)""], ""Description"": [""Despite the title, this work actually portrays the Tang emperor Xuanzong’s (685-762) escape to Sichuan in the An Lushan Rebellion. To the right figures and horses descend from the peaks to the valley, while the man before a small bridge is probably the emperor. Clouds coil, peaks rise, and mountain paths wind, emphasizing precarious plank paths using the composition of “Emperor Minghuang’s Flight to Sichuan” as a model. The archaic blue-and-green colors feature fine yet strong lines to delineate the land, following in the “blue-and-green” landscape style of Li Zhaodao. At the top is an imitation inscription by Song Huizong and fake imperial half seals of his (Neifu tushu and Yuqian zhiyin). This work appears to have been done in the 17th century.(20091016)"", ""Li Chao-tao was the son of the painter and general, Li Ssu-hsun, and he served as Commissioner for Provisions of T'ai-yuan and in the Chi-hsien Hall. His landscape paintings followed in the family tradition and equaled those of his father, earning him the nickname \""Little General Li.\"" The compositions of his paintings are tightly-knit and skillful. When painting clouds, rivers, trees, or rocks, he first drew outlines with fine brushwork and then added umber, malachite green, and azurite blue as the principal colors. Sometimes he would even add highlights in gold to give his works a bright, luminous feeling. Li Chao-tao's painting style attracted many later followers, including the artist of this work. Judging from the style, it may date to as late as the Ch’ing dynasty (1644-1911).""], ""參考書目"": [""林麗江，〈唐李昭道春山行旅圖　軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁92-93。"", ""1.王耀庭，〈唐李昭道春山行旅圖〉，收入王耀庭編，《青綠山水畫特展圖錄》（臺北：國立故宮博物院，1995年七月初版一刷），頁75。\r\n2.何傳馨，〈(原題唐李昭道)春山行旅圖〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁239。""], ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1355-1356"", ""故宮書畫錄（卷五），第三冊，頁3-4"", ""故宮書畫圖錄，第一冊，頁13-14""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000005N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000005N000000000')""}]}"
-10,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/10?dep=P&mode=full,唐閻立本竹林五君圖　軸,"{""文物統一編號"": ""故畫000002N000000000"", ""作品號"": ""故畫00000200000"", ""品名"": ""唐閻立本竹林五君圖　軸\nThe Five Gentlemen of the Bamboo Grove"", ""分類"": ""繪畫"", ""作者"": ""閻立本"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""137.2x74.3""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""39.8x74.5""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""閻立本"", ""位置"": ""本幅"", ""款識"": ""閻立本畫"", ""書體"": ""行書"", ""全文"": """"}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""甲午（西元一七七四年）仲夏御題。"", ""書體"": ""行書"", ""全文"": ""在七去二詠延年。將謂剏圖惟屬錢。右相丹青忽逢此。吳興結構那饒前。執籌王氏誠牟利。啓事山公乃進賢。棄取其間非當也。精神箇裏總軒然。衣冠猶見典午代。風日應為春暮天。却看五君無酒氣。想緣深意戒賔筵。甲午（西元一七七四年）仲夏御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""會心不遠""}, {""印主"": ""清高宗"", ""印記"": ""得佳趣""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""藝絕神全"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆御筆""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""王□□印（二字不可辨）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""王用臣家寶印""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""兆□""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""劉□""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""錫山鄒氏""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""□□宮鑒藏寶（一印不識）""}, {""���記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮續入石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文房用具"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文玩（琴棋書畫）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}]","{""內容簡介"": ""閻立本（約西元七世紀），榆林盛樂（今綏遠和林格爾）人。他和他的父親閻毗，哥哥閻立德都擅長於繪畫。曾奉令描繪各邦蠻夷、職責、鹵簿、秦府十八學生、凌煙閣功臣等圖像。\r\n畫中有清高宗題討，高宗認為這幅畫是描繪「晉竹林七賢」稽康、阮籍、山濤、向秀、劉伶、阮咸、王戎，其中王戎與山濤沒有畫入圖中。左下角的竹桿上有「閻立本畫」的款字，當為後人假托之作。"", ""Description"": ""Yen Li-pen was a native of Yu-lin, Sui-yuan. During the reign of T'ai-tsung (627-649), he was summoned to paint various subjects, such as tribute bearers, barbarians and scholars. He also painted the portaits of the Eighteen Scholars and the Meritorious Officials in the Ling-yen Hall. He acted as a high minister to Emperor Kao-tsung (650-684).\r\nThe seven scholars Chi K'ang, Juan Chi, Shan T'ao, Hsiang Hsiu, Liu Ling, Juan Hsien and Wang Hung often met in a bamboo grove and later became known as \""The Seven Sages of the Bamboo Grove.\"" Although only five gentlemen appear in this work, the Ch’ing Emperor Ch'ien-lung (1736-1796) believed that it depicted the Seven Sages with Wang Hung and Shan T'an missing‐‐thus the modified title. On the bamboo stalk on the lower left corner appears the inscription, \""Painted by Yen Li-pen,\"" which is a later interpolation."", ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁1"", ""石渠寶笈續編（寧壽宮），第五冊，頁2620"", ""故宮書畫圖錄，第一冊，頁5-6""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000002N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000002N000000000')""}]}"
-15577,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/15577?dep=P&mode=full,唐李昭道曲江圖　軸,"{""文物統一編號"": ""故畫000007N000000000"", ""作品號"": ""故畫00000700000"", ""品名"": ""唐李昭道曲江圖　軸\nThe Serpentine"", ""分類"": ""繪畫"", ""作者"": ""李昭道"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""171.2x111.3""}, {""位置"": ""全幅"", ""尺寸(公分)"": ""336x112.8""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""戊戌（西元一七七八年）暮春之初。御題。"", ""書體"": ""行書"", ""全文"": ""畫法初開南北宗。卓然賢子繼家蹤。勢雖小變妙還過。趣則有餘繁不濃。體大由來物應博。神超所喜力能從。曲江三日圖真事。未識可曾丞相逢。戊戌（西元一七七八年）暮春之初。御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""五福五代堂古稀天子寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""仕女"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""百姓"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""商販"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""貨郎"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": ""船夫""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""馬"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""鹿"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""水榭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""池水"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""庭院"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鶴"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""龍舟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""楊柳"", ""主題說明"": """"}]","[{""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""李昭道（約六七０至七三０年），唐宗室，李思訓之子。官至太原府倉曹，直集賢院。畫山水能發揚家學，與父齊名，號小李將軍。作品構圖繁巧，雲水樹石，喜用細筆勾畫輪廓，然後填染赭石、石青、石綠，甚或於其上加添泥金勾勒，即如本幅者，特饒富麗堂皇之感。後世學習其畫法者極多，稱為青綠或北宗山水。"", ""Description"": ""Li Chao-tao was a member of the T'ang royal family, being a son of Li Ssu-hsun. He served as Granary Intendant of T'ai-yuan, and was later a member of the Chi-hsien Academy. He continued his father's tradition of landscape painting and achieved equal fame, earning him the nickname \""Younger General Li\"". The compositions of Li's works are intricate, combining clouds, streams, trees, and rocks. Outlines were executed with a fine brush and then filled in with mineral pigments. Some of the works, such as the present one, were touched with \""splashed gold\"" giving a feeling of great richness to the painting. The Li family style of \""blue-green\"" landscape was commonly practiced by later painters. Their tradition is considered the founding of the Northern School of landscape painting."", ""收藏著錄"": [""石渠寶笈續編（養心殿），第二冊，頁913"", ""故宮書畫錄（卷五），第三冊，頁6"", ""故宮書畫圖錄，第一冊，頁17-18""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000007N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000007N000000000')""}]}"
-15578,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/15578?dep=P&mode=full,唐韓幹猿馬　軸,"{""文物統一編號"": ""故畫000009N000000000"", ""作品號"": ""故畫00000900000"", ""品名"": ""唐韓幹猿馬　軸\nGibbons and Horses"", ""分類"": ""繪畫"", ""作者"": ""韓幹,Han Gan"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""136.8x48.4""}, {""位置"": ""全幅"", ""尺寸(公分)"": ""274.8x71.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""宋徽宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""楷書"", ""全文"": ""唐韓幹筆。"", ""印記資料"": [{""印主"": ""宋徽宗"", ""印記"": ""御書""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""辛巳（西元一七六一年）春日御題。"", ""書體"": ""行書"", ""全文"": ""馬放霜蹄馳峻坂。猿伸月臂掛喬枝。既云意寓㕘同契。淩厲超騰又底為。辛巳（西元一七六一年）春日御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""宋理宗"", ""印記"": ""緝熙殿寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""重華宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御賞之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂善堂圖書記""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""馬"", ""主題說明"": ""二匹""}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""猿"", ""主題說明"": ""三隻""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": ""枯樹""}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": [""此幅繪竹石樹林，三猿戲於枝間石上，其下繪黑白雙駿，作徐行之狀。無款，舊題韓幹作，但徽宗題字和「御書」一璽，及理宗「緝熙殿寶」璽皆存疑，故當為後人仿作。韓幹，大梁人（河南開封），亦有作長安或藍田人。天寶（七四二－七五五）初，召入宮中為供奉。曾師曹霸，以畫馬而得名，唐張彥遠極為推崇之。"", ""本幅無款，舊題唐代韓幹作。韓幹，大梁人（河南開封），亦有作長安或藍田人。天寶（七四二－七五五）召入宮中為供奉。曾師曹霸，以畫馬而得名，唐張彥遠極為推崇之。此幅繪竹石樹林，三猿戲於枝間石上，其下繪黑白雙駿。畫上宋徽宗題字和「御書」一璽，及理宗「緝熙殿寶」璽皆偽，當為後加。然畫中不論猿、馬、樹石、枝葉，皆描繪細膩，或為南宋作品。""], ""Description"": [""With no seal or signature of the artist, this work was attributed to Han Kan. A native of Ta-liang (modern K’ai-feng, Honan), he is also said to be from Ch’ang-an or Lan-t’ien. Called to court in the T’ien-pao era (742-755), he studied under Ts’ao Pa and was famous for painting horses, being admired by the T’ang critic Chang Yen-yuan. In this work of bamboo, rocks, and trees are 3 gibbons among branches and on a rock. Below are a black and a white steed leisurely trotting. The inscription and yu-shu (“imperial work”) seal of the Sung emperor Hui-tsung and “Treasure of the Ch’i-hsi Hall” seal of the Sung emperor Li-tsung are spurious and later additions. All the motifs are finely rendered, though, suggesting a Southern Sung (1127-1279) date."", ""In the upper part of this picture are three gibbons-one plays on a large rock and two are among tree branches. Under the tree, two horses canter side-by-side. Though the painting has neither seal nor signature of the artist, it has been traditionally attributed to Han Kan. The Hui-tsung (r. 1101-1125) inscription and Yu-shu (\""Imperially-written\"") seal, as well as the Ch'i-hsi-tien pao (\""Treasure of the Ch'i-hsi Hall\"") seal of Li-tsung (r.1225-1264), also seem suspicious, suggesting that this painting was probably done by a later painter. Han Kan was a native of Ta-liang (K'ai-feng, Honan), though some records indicate that he came from Ch’ang-an or Lan-t'ien, Shensi. He entered court service in the early T'ien-pao era (742-755) as a painter and studied under Ts’ao Pa, a famous painter of horses. He, too, became famous for painting horses. His works were highly admired by Chang Yen-yuan (ca. 815-after 875), the T'ang connoisseur and critic.""], ""收藏著錄"": [""石渠寶笈初編（重華宮），下冊，頁792"", ""故宮書畫錄（卷五），第三冊，頁7"", ""故宮書畫圖錄，第一冊，頁21-22""], ""參考書目"": ""1.林柏亭、張華芝，〈唐韓幹猿馬圖〉，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81-82。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000009N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000009N000000000')""}]}"
-15554,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/15554?dep=P&mode=full,唐李昭道洛陽樓圖　軸,"{""文物統一編號"": ""故畫000006N000000000"", ""作品號"": ""故畫00000600000"", ""品名"": ""唐李昭道洛陽樓圖　軸\nThe Loyang Tower"", ""分類"": ""繪畫"", ""作者"": ""李昭道"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""37.5x39.7""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""19.9x38.6""}, {""位置"": ""上方"", ""尺寸(公分)"": ""32.8x38.5""}]","[{""質地位置"": ""上方"", ""質地"": ""紙""}, {""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""李昭道"", ""位置"": ""本幅"", ""款識"": ""李昭道"", ""書體"": ""楷書"", ""全文"": """"}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""乙未（西元一七七五年）仲春。御題。"", ""書體"": ""行書"", ""全文"": ""丹青盈尺較縱横��妙寫高樓擅洛京。跋馬垂鞭值休暇。漾舟近岸有逢迎。將軍自是超凡繪。宗伯猶疑著定評。風物盛唐傳仿彿。幾迴感慨託怡情。乙未（西元一七七五年）仲春。御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}]}, {""題跋類別"": ""題跋"", ""作者"": ""董其昌\n印記\nexpand_more"", ""位置"": ""上方"", ""款識"": ""癸丑九月。其昌題。"", ""書體"": """", ""全文"": ""曩從京師。見唐小李將軍畫洛陽樓圖。縱橫盈尺。其中樓閣交互。臺榭參差。朱簾繡幕。掩映深秀。人物山川。皆細如髮。方寸之間。極江雲變化之致。向有米元章。賈秋壑。趙文敏。吳文定。諸公題跋。及珍藏圖章。其為真跡無疑。今歸藏於項墨林家。而諸公印識悉失。想流傳有所脫落。或為裱工裁去。皆不可知。然數百年之物。兵燹之餘。而全圖尚在。非神物護持。烏能至此。墨林其寶諸。癸丑（西元一六一三年）九月。其昌題。"", ""印記資料"": [{""印主"": ""董其昌"", ""印記"": ""董其昌""}, {""印主"": ""董其昌"", ""印記"": ""宗伯學士""}]}, {""題跋類別"": ""題跋"", ""作者"": ""于敏中\n印記\nexpand_more"", ""位置"": ""下方（寫在裱綾上）"", ""款識"": ""臣于敏中奉勅敬書"", ""書體"": """", ""全文"": ""（乾隆御識）是幀界畫整嚴中。氣韻復極流動。且尺幅而具千里之勢。絹素甚舊。即以屬之小李將軍。固無不可。惟詩堂董其昌題字。筆力苶弱。不類香光他書。所云曩見是圖。有賈秋壑。米元章。趙文敏。吳文定。諸公題跋。及珍藏圖章。今歸項墨林家。而諸公印識悉失云云。既有諸人題跋。則當是手卷而非長幅。其改裱又係何時。藉如所云。曾歸項元汴。何以幅中不見有項氏收藏諸圖記。且董云諸公印識悉失。何以幀右下方。秋壑二字印宛在。其昌非昧於精覈者。既欲品題。不應粗率若此。蓋畫幅本是舊物。庸手贗作董跋。以冀鑒賞有據。并幅中署款。亦係妄添。不知畫果真。即無款何妨。而碔砆之混。則不可不辨。既以成詩。並識於此。臣于敏中奉勅敬書。"", ""印記資料"": [{""印主"": ""于敏中"", ""印記"": ""臣于敏中""}, {""印主"": ""于敏中"", ""印記"": ""依光日月""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": """", ""書體"": """", ""全文"": ""自足千古。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆御筆""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（三印不可辨）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""入骨髓""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""子子孫孫永保之""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""俊逸參軍""}, {""印記類別"": ""收傳印記"", ""印主"": ""賈似道"", ""印記"": ""秋壑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮續入石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""名勝"", ""主題說明"": ""洛陽樓""}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": ""洛陽樓""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""仕女"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""孩童"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""馬"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""篷舟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""香爐．火盆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""樂器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": ""喬木""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": ""枯樹""}]","[{""技法"": ""人物衣紋描法(減筆)"", ""技法細目"": """"}, {""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""苔點"", ""技法細目"": """"}]","{""內容簡介"": ""此圖為中軸對稱建築群組合，樓閣交互，精整有序。主殿為二層重檐歇山頂，四周有平坐圍廊，屋頂前低後高錯落，用勾連搭的做法。（將三座房屋沿進深方向連接起來，中間不做隔牆，屋頂各自分開，擴大室內使用空間。）下設台基，最前方月台兩側有踏道上下。此圖斗栱繪法簡化以方格重疊，可能是明代人根據畫稿臨摹或改畫的，畫上「李昭道」款係後人添加。"", ""Description"": ""Depicted here is a complex along a central axis with the buildings connected together and shown in order. The main building to the rear has a double-eave, hip-and-gable roof with a roofed balcony in front and balconies to the left and right. A covered walkway extends around the building, and the ascending roofs are interlocking (without supporting walls below). The raised foundation has a platform in front with stairs on two sides. The brackets are simplified into a pattern of crossing lines, suggesting copying or change by a later, perhaps Ming, artist. The signature of Li Chao-tao in the upper right corner thus appears to be a later addition. Li, the son of the famed artist Li Ssu-hsun, followed his father's landscape style."", ""網頁展示說明"": [""此畫描繪樓閣建築群，殿宇以中軸對稱作空間組合，交互堆疊，精整有序。石橋上賓客乘騎而來，童僕穿梭來往，畫風巧贍精緻，雖「豆人寸馬」，也畫得鬚眉畢現。 \r\n李昭道（約活動於八世紀初），左武衞大將軍李思訓（六五三－七一八）子，金碧山水得乃父神髓，兼善樓台人物，後人尊為「小李將軍」。\r\n此幅舊題為李昭道作，從畫風看，應是十四世紀前後，根據早期畫稿的臨摹本。(20110405)"", ""Within the small size of this scroll, the palace complex shown here unfolds along a central axis with connected buildings in an orderly manner. Child attendants scurry about as guests arrive riding horses on a stone bridge. The style is ingenious and refined. Although the figures are tiny, they are presented in complete detail.\r\nLi Zhaodao, the son of Left General of the Militant Guard Li Sixun (653-718), was a native of Tianshui, Gansu, and served to the post of Secretary to the Heir Apparent. His gold and blue-and-green landscape paintings followed the spirit of his father’s style. He also excelled at figures and towers, later generations calling him “Minor General Li.” \r\nJudging from the style of this old attribution to Li Zhaodao, this is probably a circa-14th-century copy after an earlier version.(20110405)"", ""小品だか、畫面中ほどに立ち並ぶ楼閣が空間に奧行きを生み、景物が整然と重なり合っている。頻繁に往來する童僕、騎馬で石橋を渡る客人、巧みで精緻な畫風、「寸馬豆人」（遠方に小さく見える人馬）だが、ヒゲや眉まで詳細に描かれている。 \r\n李昭道（8世紀初頭に活動）、左武衞大將軍李思訓（653-718）の子息。父の神髓であった金碧山水を会得し、楼台人物畫も善くした。後の人々から「小李將軍」と尊ばれた。本作の旧題では李昭道の作品だったが、元明時代に早期の作品を臨模したものと思われる。(20110405)""], ""收藏著錄"": [""石渠寶笈續編（寧壽宮），第五冊，頁2622－2623"", ""故宮書畫錄（卷五），第三冊，頁4-5"", ""故宮書畫圖錄，第一冊，頁15-16""], ""研究性論著"": ""江渚上高樓層起，內有人對談讀書，童僕捧食穿梭來往。迴廊有人遙向遠處揖拜，石橋上賓客乘騎而來。此軸畫幅雖小，樓閣交互，精整有序。 此圖為典型中軸對稱建築群組合，下有台基承托，總體平面如凸字形，主殿高閣為設於雙層台基上較大建築物，殿前另設月台，正偏兩側有踏道可上下，前有河流，使畫面顯得清幽雅緻。（註 1）主殿是相連的兩個二層樓閣，重檐歇山頂，樓正前方有突出的抱廈一間（正前面出一間前廊），左右則有平台伸出。抱廈有斗栱檐柱和歇山屋頂。樓四周圍有環廊，鉤欄順著樓身與抱廈安裝，使樓面呈十字形。屋頂前低後高錯落，用勾連搭的做法。（將兩三座房屋沿進深方面連接起來，中間不做隔牆，以擴大室內使用空間。）樓閣屋檐翼角起翹甚為明顯，屋檐翼角下方有角葉裝飾，應屬於南方建築裝飾風格。 右方宅院由縱深增加院落，兩邊有配殿主次分明，左右側院稱為跨院。此畫前方臨水處繪有與廂房開門相通，門不對外開敞的門壁，院內似為佛堂祭祀之所。此圖建築物合理安置於自然山水中，部份建物徒手畫不用界尺。若由圖中樹石寫意重點染的畫法，及斗栱用一層枋一層栱簡化方格重疊起來的形式，可能是元人甚至是明初根據早期畫稿臨摹或改畫的。（註2）畫上「李昭道」款係後人添加，詩堂董其昌題跋亦偽，清朝于敏中跋文已指出，此圖可能原是手卷而非長軸。 李昭道（約活動於八世紀初），字希俊，李思訓子。曾任太原府倉曹，玄宗開元年間直集賢院，為中書舍人，後人尊為「小李將軍」。 註 1: 唐、五代、北宋許多建築都無月台之制，遼、金建築中殿堂前面築月台較常見，元代以後已普遍應用。註 2: 其斗栱繪法接近山西太原崇善寺成化十九年（一四八三）摹繪明初兩廊壁畫畫稿，所作「善財童子五十三參」冊頁。"", ""參考書目"": ""1.林莉娜，〈(傳)唐李昭道洛陽圖〉，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20-21、96-97。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000006N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000006N000000000')""}]}"
-14718,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14718?dep=P&mode=full,唐范瓊畫大悲觀音像　軸,"{""文物統一編號"": ""故畫000011N000000000"", ""作品號"": ""故畫00001100000"", ""品名"": ""唐范瓊畫大悲觀音像　軸\nKuan-yin of Great Compassion"", ""分類"": ""繪畫"", ""作者"": ""范瓊"", ""創作時間"": ""唐宣宗大中四年（850）"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""67.3x39.9""}, {""位置"": ""右上邊題籤"", ""尺寸(公分)"": ""23.8x2""}, {""位置"": ""左下方題"", ""尺寸(公分)"": ""26.7x8.7""}]","[{""質地位置"": ""右上邊題籤"", ""質地"": ""紙""}, {""質地位置"": ""左下方題"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""范瓊"", ""位置"": ""本幅"", ""款識"": ""大唐大中四年（西元八五○年）庚午歲正月吉旦。范瓊敬畫於蜀郡聖興寺中（泥金書）。"", ""書體"": """", ""全文"": """"}, {""題跋類別"": ""題籤"", ""作者"": ""查士標"", ""位置"": ""右上邊題籤"", ""款識"": ""䢴上查士標題籤。"", ""書體"": """", ""全文"": ""大悲觀音像。唐范瓊真蹟。䢴上查士標題籤。""}, {""題跋類別"": ""題跋"", ""作者"": ""張丑\n印記\nexpand_more"", ""位置"": ""左下方題"", ""款識"": ""清河張丑謹題。"", ""書體"": """", ""全文"": ""范瓊阿彌陀佛。向見于金陵沈氏。今爾宰詞兄。出此大悲觀音像。筆法悉與相似。遂定為真蹟無疑。爾宰寶之。清河張丑謹題。鈐印二。張丑之印。張青父氏。"", ""印記資料"": [{""印主"": ""張丑"", ""印記"": ""張丑之印""}, {""印主"": ""張丑"", ""��記"": ""張青父氏""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""珠林三編""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""祕殿珠林""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑒賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""觀音"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""儀仗（佛教寶蓋）"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}]","{""內容簡介"": ""觀音菩薩頭戴寶冠，寶冠中畫阿彌陀佛，在青色蓮台上結跏趺坐。祂有三隻眼睛、四十二隻手，每隻手掌中間還畫一隻眼睛，是密教中千手千眼觀音（又稱大悲觀音）的一種類型。本幅右下方有范瓊（活動於八四六－八七九）的題款，雖然清代的查士標和張丑都認為這是一幅范瓊的真蹟，可是這幅觀音女相的造形與唐代的男相觀音不同，反而和明代的觀音較為接近，所以推測它可能是一件明代的畫作。"", ""Description"": ""Kuan-yin appears here wearing a jeweled crown, in which is set a small Amitábha Buddha, and sits cross-legged on a blue lotus pedestal. Her face has a third eye and each of her 42 hands has an eye in the palm. This is the Kuan-yin of a Thousand Arms and Eyes, a type also known as the Kuan-yin of Great Compassion and which is found in esoteric Buddhism. The signature of Fan Ch'iung in the lower left led Ch'a Shih-piao and Chang Ch'ou of the Ch'ing dynasty (1644-1911) to consider it an authentic work by Fan. However, the feminine appearance differs from the masculine one associated with Kuan-yin in the T'ang. It seems, rather, more like that of the Ming dynasty (1368-1644), indicating it is probably a work of the period."", ""收藏著錄"": [""秘殿珠林三編（乾清宮），頁56"", ""故宮書畫錄（卷五），第三冊，頁9-10"", ""黃休復益州名畫錄"", ""故宮書畫圖錄，第一冊，頁33-34""], ""參考書目"": ""1.李玉珉，〈(傳)唐范瓊大悲觀音像〉，收入李玉珉主編，《觀音特展》（臺北：國立故宮博物院，2000年初版），頁206-209。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000011N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000011N000000000')""}]}"
-14719,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14719?dep=P&mode=full,唐人大禹治水圖　軸,"{""文物統一編號"": ""故畫000012N000000000"", ""作品號"": ""故畫00001200000"", ""品名"": ""唐人大禹治水圖　軸\nEmperor Yu Controlling the Waters"", ""分類"": ""繪畫"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""159.5x88.4""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""40.1x88.4""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""乾隆丁酋仲夏月。御筆。"", ""書體"": ""行書"", ""全文"": ""大禹治水圖。廣二尺七寸又十分寸之五。高四尺九寸。上下左右邊幅。都似截去不全。故無作者及收藏家姓名印識。按宣和畫譜。有晉顧愷之夏禹治水圖。郭若虛圖畫見聞誌。有隋展子虔禹治水。及五代朱簡章禹治水圖。又王世貞弇州續集。有宋趙伯駒大禹治水圖。而疑以為非千里所能辦。似周文矩云云。夫既為割裂之餘。無姓氏可考。則其為顧為展為周為朱為趙。不能以臆度。徒觀其結構筆法。則內府本有愷之洛神圖。子虔春遊卷。皆較此幅為更古。簡章蹟未見。迄不可證。伯駒所作後赤壁圖。較此幅筆法實緜弱。誠有如弇州所云。則此幅或即文矩所為。未可知也。且與內府所弆文矩聖蹟圖。筆意亦有相仿者。至於三峽砥柱之雄壯��焚林烈峰之綢繆。架木撐鐵。曳杵撞石。椎之𢶍之。析之撬之。剔之鬟之。導之奠之。眾役並力。各極其致。而大禹則免收祇坐。躬持斧鑿。共勞竭誠之意。如可想見。虛空金神。遂有驅鬼怪轟雷掣電。以為之陰助其工。用奏地平天成之績。信有非趙宋以下畫工所能摹擬者。嗚呼。微禹其魚。功垂萬禩。雖無圖畫。人孰不思。則況仰威儀而識胼胝。蒙敷奠而緬隨刊。起敬起慕。又當何如。豈藉考姓氏辨古今以為企景者哉。乾隆丁酋仲夏月。御筆。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""所寶惟賢""}, {""印主"": ""清高宗"", ""印記"": ""乾隆御筆""}]}, {""題跋類別"": ""題跋"", ""作者"": ""董誥"", ""位置"": ""下方"", ""款識"": """", ""書體"": ""楷書"", ""全文"": ""董誥書乾隆戊申御製題密勒塔山玉大禹治水圖（文不錄）""}, {""題跋類別"": ""題籤"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": """", ""款識"": """", ""書體"": """", ""全文"": ""唐人大禹治水圖（神品）。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""五福五代堂古稀天子寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""太上皇帝""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""百姓"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""帝王"", ""主題說明"": ""大禹""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""神、仙"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""水利"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""經史‧故事"", ""主題(第二層)"": """", ""主題說明"": ""大禹治水﹒益烈小澤""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}, {""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}]","{""內容簡介"": ""堯舜之世，時有洪水橫流，歷經圍堵，未見其效。後舉禹治之，禹疏九河，使排注於江海，而天下平。\r\n歷代畫家以此入圖者，古書所載，最早有顧愷之，其後則有隋展子虔、五代朱簡章、宋趙伯駒等。本幅無作者名款，附有舊籤，題曰：「唐人大禹治水圖」。"", ""Description"": ""In the time of the legendary Chinese emperors, Yao and Shun, the rivers would often rise uncontrollably and flood the land. Dams were built, but they proved ineffective. Finally, Yu solved the problem by dredging the rivers and establishing settled routes for their entry into the sea. The story of Yu combatting the floods was often depicted in painting. According to ancient painting catalogues, it was painted by Ku K'ai-chih of the Tsin (265-420), Chan Tzu-ch'ien of the Sui (589-618), Chu Chien-chang of the Five Dynasties (917-960), and Chao Po-chu of the Sung (960-1279). Though unsigned, this painting carries an old label that reads, \""A Painting of the Great Yu Controlling the Waters by a T'ang Dynasty Artist.\"""", ""收藏著錄"": [""石渠寶笈續編（御書房），第四冊，頁1911"", ""故宮書畫錄（卷五），第三冊，頁10-11"", ""故宮書畫圖錄，第一冊，頁35-36""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000012N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000012N000000000')""}]}"
-24,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/24?dep=P&mode=full,五代梁關仝畫山谿待渡圖　軸,"{""文物統一編號"": ""故畫000015N000000000"", ""作品號"": ""故畫00001500000"", ""品名"": ""五代梁關仝畫山谿待渡圖　軸\nWaiting for the Ferry"", ""分類"": ""繪畫"", ""作者"": ""關仝"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""156.6x99.6""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""48.3x100.3""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""丁亥（西元一七六七年）秋日御題。"", ""書體"": ""行書"", ""全文"": ""磔裂已看纑地陳。谿山千古自精神。蒼然暮色横川上。尚有擔囊待渡人。丁亥（西元一七六七年）秋日御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}, {""題跋類別"": ""題跋"", ""作者"": """", ""位置"": ""詩塘"", ""款識"": """", ""書體"": ""篆書"", ""全文"": ""關仝山谿待渡圖。""}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""□□之後""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""張氏蓬山珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""金章宗"", ""印記"": ""羣玉中祕(後描)""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""五福五代堂古稀天子寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮續入石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": """", ""主題說明"": ""渡船""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": ""樹""}]","[{""技法"": ""皴法"", ""技法細目"": ""雨點皴""}]","{""內容簡介"": ""幅中一人負行李，趕著驢，往水濱呼喚渡船，其上則是崇山峻嶺。群峰中流出山泉一道，茅屋樓閣隱於山谷林木間。是幅佈局頗類院藏宋范��的「臨流獨坐」，雖標名為關仝，但從筆墨論，或為明人仿作。關仝（約西元十世紀），陝西長安人。畫山水學自荊浩，晚年更有青出於藍之譽，所畫多關陝一帶風景，氣勢非常。"", ""Description"": ""This painting represents a man carrying a bundle over his shoulder, driving a donkey before him, and calling out to the ferry boat at the far bank. A temple compound is concealed among the valley woods. The composition of this work is similar to Sitting Alone by a Stream in the Museum collection by the Sung painter Fan K'uan. Though the traditional title gives Kuan T'ung as the artist, the use of ink and brush suggest it is an imitation by a Ming dynasty (1368-1644) painter. Kuan T'ung, a native of Shensi, learned landscape painting from Ching Hao. A diligent student, in his later years his skilled surpassed that of his teacher. His landscapes portray the powerful scenery of Shensi with towering peaks."", ""收藏著錄"": [""石渠寶笈續編（寧壽宮），第五冊，頁2640"", ""故宮書畫錄（卷五），第三冊，頁15-16"", ""故宮書畫圖錄，第一冊，頁55-56""], ""參考書目"": ""1.李霖燦，〈山水畫中點景人物的斷代研究〉，《故宮季刊》，第十三卷第二期（1978年冬），頁25-40。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000015N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000015N000000000')""}]}"
-14720,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14720?dep=P&mode=full,唐人畫雪景　軸,"{""文物統一編號"": ""故畫000013N000000000"", ""作品號"": ""故畫00001300000"", ""品名"": ""唐人畫雪景　軸\nSnowscape"", ""分類"": ""繪畫"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""135.4x69.1""}, {""位置"": ""全幅"", ""尺寸(公分)"": ""300x80""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""辛亥（西元一七九一年）新正月御題。"", ""書體"": ""行書"", ""全文"": ""勾勒無皴純古法。山青雪白景殊勝。底須唐李尋名氏。恰肖石渠證右丞。辛亥（西元一七九一年）新正月御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印主"": ""清高宗"", ""印記"": ""自強不息""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""店舖"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""烏鴉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""篷舟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}]","{""內容簡介"": ""早期山水為人物畫的背景，僅是山水，尚不足獨立成畫。幾經演變，至唐時，已漸趨成熟獨立之境。有擅繪青綠山水的李思訓、水墨山水王維等大家出現。這幅畫，一座山一座山的描繪，大多形成三角形，有平正古拙的感覺。設色主要填染了石青、石綠，山石以鈎勒紋路表現，尚未有皴紋的使用，畫法與李思訓青綠山水一派相近。"", ""Description"": ""In the early periods landscape served as a background for figure paintings and was not a fully independent subject matter. However, by the T'ang period it had evolved into a mature and independent form and Li Ssu-hsun, the master of the blue and green landscape style, and Wang Wei, the master of the monochrome ink style, emerged. This painting depicts mountain upon mountain, most of which are in the form of flat and regular triangles and have an archaic and naive feeling. The important stylistic features of this work are the use of outlines to define the rocks and mountains, and blue and green color to fill them. At this time painters had not yet begun to use texture strokes (ts'un-fa) for depicting mountains. The methods used in this painting are very like those of the blue and green landscape school of Li Ssu-hsun."", ""收藏著錄"": [""石渠寶笈續編（養心殿），第二冊，頁922"", ""故宮書畫錄（卷五），第三冊，頁11"", ""故宮書畫圖錄，第一冊，頁37-38""], ""參考書目"": ""1.王耀庭，〈唐人畫雪景〉，收入王耀庭編，《青綠山水畫特展圖錄》（臺北：國立故宮博物院，1995年七月初版一刷），頁76-77。\r\n2.林莉娜，〈唐無款畫雪景〉，收入林莉娜、張華芝編，《冬景山水畫特展圖錄》（臺北：國立故宮博物院，1989年元月初版），頁54。\r\n3.何傳馨，〈(原題唐人)畫雪景〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁240。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000013N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000013N000000000')""}]}"
-13,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13?dep=P&mode=full,五代梁關仝秋山晚翠　軸,"{""文物統一編號"": ""故畫000016N000000000"", ""作品號"": ""故畫00001600000"", ""品名"": ""五代梁關仝秋山晚翠　軸\nEvening Colors over Autumn Mountains"", ""分類"": ""繪畫"", ""作者"": ""關仝"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""140.5x57.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""王鐸\n印記\nexpand_more"", ""位置"": ""右邊幅"", ""款識"": ""己丑十月王鐸濡墨琅華館中"", ""書體"": ""行書"", ""全文"": ""此關仝真筆也。結撰深峭。骨蒼力垕。婉轉關生。又細又老。磅礡之氣。行于筆墨外。大家體度固如此。彼倪瓚一流。競為薄淺習氣。至於二樹一石一沙灘。便稱曰山水山水。荊關李范。大開門壁。籠罩三極。然歟非歟。己丑十月王鐸濡墨琅華館中。"", ""印記資料"": [{""印主"": ""王鐸"", ""印記"": ""鐸""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""(一印不可辨)""}, {""印記類別"": ""收傳印記"", ""印主"": ""明內府印"", ""印記"": ""司印(半印)""}, {""印記類別"": ""收傳印記"", ""印主"": ""李宗孔"", ""印記"": ""守真抱一""}, {""印記類別"": ""收傳印記"", ""印主"": ""李宗孔"", ""印記"": ""李宗孔""}, {""印記類別"": ""收傳印記"", ""印主"": ""李宗孔"", ""印記"": ""祕園""}, {""印記類別"": ""收傳印記"", ""印主"": ""李宗孔"", ""印記"": ""廣陵李書樓珍賞圖書""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統���覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑑藏寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""秋景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""石磴、棧道"", ""主題說明"": ""棧道""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": [""關仝（十世紀中葉），陜西長安人。畫山水師荊浩，而有出藍之譽。所作多關陝一帶景致，雄渾峻拔。論者謂：「筆愈簡而氣愈壯，景愈少而意愈長。」唯不善人物，畫中點景，多由胡翼代筆。本幅無名款，今名係據王鐸跋語而訂定。畫嵯峨高峰，中有泉瀑迂迴，景境幽深。邊角似經裁切，原作或為一屏風形式，後再改裝成立軸。鑑於風格、技法與燕文貴（約九六七－一０四四）略近，故時代應可置入北宋中期。"", ""關仝（活動於十世紀中期）是荊浩弟子，北宋時與李成、范寬並列三家。他的傳世作品大多可議，唯有此幅最受重視。文獻上說他畫山水石體堅凝、山峰峭拔、雜木豐茂，在此作皆可印證。 層疊的峭峰之下，中央巨岩最為引人注目，而其間斷續出現的步道，則揭示著一個外人不易至的幽谷之存在。這或許正是畫家意旨所在。 本幅畫絹破損嚴重，歷代幾經重裱，亦有加補。如巨岩與右上山塊之連線，與峰頂上之建築皆為後添。(20061206)""], ""Description"": [""Kuan T'ung, a disciple of Ching Hao, was known along with Li Ch'eng and Fan K'uan as one of the Three Masters. Most works attributed to him are doubtful in terms of authenticity, but this is one of the most highly regarded. Records indicate that in landscape painting he rendered rocks as solid, peaks as steep, and forests as dense. All these features are found in this work. Below and emerging from the ridges of peaks, a large central cliff juts out in the lower part of this painting to attract the viewer’s attention. A path winds its way along with the stream into the background, suggesting the inaccessible and isolated nature of the terrain. This perhaps is exactly what the artist intended to portray. The silk of this work is heavily damaged and has been remounted several times in the past, being repaired and patched in several places. For example, the continuity between the central cliff and mountain forms in the upper right, along with the building on the peak, are later additions.(20061206)"", ""Kuan T'ung was a native of Ch'ang-an in Shansi. He was a pupil of the landscape painter Ching Hao and later surpassed him. Kuan often painted the landscape of the Shansi region with its rugged and soaring scenery. Early connoisseurs commented that as his brushwork became simpler, his spirit became more expressive; as his motifs became less complex, his ideas more far-reaching. His only shortcoming was his inability to paint figures, which were often done by his student Hu I. This painting has no signature, but was ascribed to Kuan by the Ming connoisseur Wang To. Included is a range of soaring peaks, between which are cascades. The path in the corner appears abrupt, suggesting this work may have once been part of a screen remounted later as a hanging scroll. The style is similar to that of Yen Wen-kuei (967-1044), suggesting this scroll may date to about the middle of the Northern Sung (960-1126).""], ""參考書目"": [""林麗江，〈五代梁關仝秋山晚翠　軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁94-95。"", ""1.陳韻如，〈五代梁關仝秋山晚翠　軸〉，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26-31。\r\n2.林柏亭，〈關仝秋山晚翠〉，《故宮文物月刊》，第1期（1983年4月），封底裡。""], ""收藏著錄"": [""石渠寶笈初編（養心殿），上冊，頁658"", ""故宮書畫錄（卷五），第三冊，頁16"", ""故宮書畫圖錄，第一冊，頁57-58""], ""研究性論著"": ""高峰峻峭，巍峨矗立，中有泉瀑，迂迴而下，景緻幽深，奧曲奇偉。山石皴畫筆力雄渾，墨色凝重，表現出厚重結實的質感；並以朱色賦染樹葉，和畫枯枝樹來形容秋日時光。從構圖上看，畫幅兩側甚為促迫，似曾經裁切，原作或本為屏風，後再改裝成立軸形式。\r\n此幅無名款，今之定名為關仝，乃是根據邊幅王鐸順治六年（1649）的跋語而來。王鐸認為此幅結構深峭，筆法老蒼，氣勢磅礡，當為關仝真筆。事實上，目前傳世作品中，並無可靠的關仝畫蹟可以比對，所以本幅是否出於關仝所作，仍有待研究。以風格和表現技法觀察，與燕文貴（約967-1044）畫風略近，成畫時代或可置於北宋中期（約1040年間）。\r\n關仝（十世紀中葉），陜西長安人。所作多關陜（陜西省地區）一帶景緻，峻拔雄渾，畫史評論其畫謂：「筆愈簡而氣愈壯，景愈少而意愈長。」（許郭璜）""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000016N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000016N000000000')""}]}"
-17,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/17?dep=P&mode=full,五代南唐徐熙玉堂富貴圖　軸,"{""文物統一編號"": ""故畫000018N000000000"", ""作品號"": ""故畫00001800000"", ""品名"": ""五代南唐徐熙玉堂富貴圖　軸\nWealth and Rank in Halls of Jade"", ""分類"": ""繪畫"", ""作者"": ""徐熙,Attributed to Xu Xi"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""112.5x38.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""徐熙"", ""位置"": ""本幅"", ""款識"": ""金陵徐熙"", ""書體"": """", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（二印不可識）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（半印二不可識）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""仲陽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""玉蘭"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""牡丹"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""海棠（木）"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""雉（錦雞．雉類）"", ""主題說明"": ""錦雞；山鳥""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": ""畫玉蘭、海棠、牡丹、石竹等，花蕊繁複，枝幹錯綜，珍石下一錦雞，均以雙鉤填彩方式描繪，工緻秀麗。空隙又以石青敷染，畫面填滿色彩穠豔的景物，極富圖案趣味，院藏中另有一幅傳宋趙昌的「歲朝圖」也是同類風格作品，稱之為「鋪殿花」，原本作為裝飾廳堂的屏風畫。畫幅左下角有「金陵徐熙」款，疑是偽添的。按徐熙（約活動於西元十世紀初）鍾陵（南京）人，為南唐著名的花鳥畫家，畫史記載他長於以墨寫枝葉蕊萼，然後上色稱落墨花，獨具風格。"", ""Description"": ""Depicted here is a crowded scene of flowers and plants, including magnolias, cherry-apple blossoms, peonies, as well as bamboo and a decorative garden rock with a golden pheasant. All the motifs were outlined first and then filled with opaque colors of exceptional refinement and elegant beauty. Executed on a base of mineral blue wash and including numerous motifs, this is a highly decorative work. \""New Year's Flowers\"", also in the Museum's collection and traditionally attributed to the Sung artist Chao Ch'ang（c. 960-after 1016）, is done in a similar style, called \""wall-to-wall flowers\"". This work was probably once part of a screen painting that once decorated the hall of a building. In the lower corner of the scroll is a signature which reads \""Hs'Hsi of Ching-lin\"", which is perhaps a spurious addition. Hs'Hsi, a native of Chung-lin （modern Nanking）, was a renowned painter of bird-and-flowers during the Southern T'ang. According to painting histories, his specially was rendering branches, leaves, and blossoms in outlines of ink that he would then fill with colors. Called \""blossoms in writing\"", it was an innovation at the time."", ""參考書目"": [""童文娥，〈五代南唐徐熙玉堂富貴圖　軸〉，收入童文娥主編《十指春風—緙繡與繪畫的花鳥世界》（臺北：國立故宮博物院，2015.04），頁40-47。"", ""1.〈五代南唐徐熙玉堂富貴圖〉，收入國立故宮博物院編輯委員會編，《牡丹名畫特展圖錄》（臺北：國立故宮博物院，1987年四月初版），頁38。\r\n2.〈五代‧南唐宋徐熙玉堂富貴圖〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁209。\r\n3.本社，〈南唐徐熙玉堂富貴圖〉，《故宮文物月刊》，第38期（1986年5月），封底裡。\r\n4.陳昱全，〈傳趙昌〈歲朝圖〉與「舖殿花」〉，《故宮文物月刊》，第337期（2011年4月），頁48-57。""], ""收藏著錄"": [""石渠寶笈初編（御書房），下冊，頁1103"", ""故宮書畫錄（卷五），第三冊，頁17"", ""故宮書畫圖錄，第一冊，頁63-64""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000018N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000018N000000000')""}]}"
-793,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/793?dep=P&mode=full,五代南唐巨然雪圖　軸,"{""文物統一編號"": ""故畫000020N000000000"", ""作品號"": ""故畫00002000000"", ""品名"": ""五代南唐巨然雪圖　軸\nSnowscape"", ""分類"": ""繪畫"", ""作者"": ""巨然"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""103.6x52.5""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""30.5x52.9""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""戊辰新秋月。御題。"", ""書體"": ""行書"", ""全文"": ""畫雪難畫寒。留白誰不曉。高張三伙間。肌粟生多少。纈枝饒冷英。繞樹斷歸鳥。迷目尚皚皚。澂懷自了了。朔景故淒其。而胡灞陵道。戊辰新秋月。御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""惟精惟一""}, {""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""玩其林巒皴法。與王維雪溪。同一神妙。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}, {""印主"": ""清高宗"", ""印記"": ""知仁山水德""}]}, {""題跋類別"": ""題跋"", ""作者"": ""董其昌\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""巨然雪圖。董其昌鑒定。"", ""印記資料"": [{""印主"": ""董其昌"", ""印記"": ""宗伯學士""}, {""印主"": ""董其昌"", ""印記"": ""董氏玄宰""}]}, {""題跋類別"": ""簽"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": """", ""款識"": """", ""書體"": """", ""全文"": ""僧巨然雪圖真蹟。神品。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""內府珍藏""}, {""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（二印不可辨）""}, {""印記類別"": ""收傳印記"", ""印主"": ""王時敏"", ""印記"": ""太原王遜之氏收藏圖書""}, {""印記類別"": ""收傳印記"", ""印主"": ""明內府"", ""印記"": ""司印（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""安岐"", ""印記"": ""安儀周家珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""安岐"", ""印記"": ""思原堂""}, {""印記類別"": ""收傳印記"", ""印主"": ""王原祁"", ""印記"": ""掃花庵""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋理宗"", ""印記"": ""緝熙殿寶""}, {""印記類別"": ""收傳印��"", ""印主"": ""安岐"", ""印記"": ""麓邨""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""太上皇帝之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮續入石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂鑒藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""樵夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": ""披麻皴""}]","{""內容簡介"": [""雪覆滿大地，峽谷中半露寺宇，背後崇山高起，山勢雄偉。溪橋山道之間，行旅三人，冒風雪而行。以墨烘染法，畫出水天，反襯出雪白，大地空曠，枯樹搖舞，倍覺一派襲人寒意。畫上無作者款印，詩塘上有明代書畫家及鑑賞家董其昌題，鑑定為活動於十世紀南唐至北宋初的江南畫家巨然所作。近代學者研究，可能是宋徽宗朝一位學李成的畫家馮覲的作品，也有認為是元代畫家所作。"", ""巨然（活動於西元十世紀後期），江南人。南唐時為開元寺僧，南唐亡後（西元九七五年），巨然隨後主李煜至汴梁。工畫山水，祖述董源，臻於妙境。荊關董巨，並稱大家。坡陀野水，漸成峽谷。寺宇半露，背山崒嵂特起，雄偉之甚。溪橋山道之間，行旅三人，冒風雪而行。烘染盡法，故覺其厚；夷險得勢，故覺其雄。""], ""Description"": [""A blanket of snow covers the scene with a temple behind a slope at the middle right. Majestic mountains rise in the background. Three figures braving the cold and snow appears on a path towards the temple, with the two behind having just crossed a small bridge over a stream. The sky and water were washed in ink to leave the blank areas as snow, creating a dark and wintry scene punctuated by the craggy trees and sparse mountains. This work bears no seal or signature of the artist, but Tung Ch'i-ch'ang (the famed connoisseur-artist of the Ming) inscribed it as by the 10th-century artist Ch'an. Modern scholarship, however, suggests it was either painted by Feng Kuan, a follower of Li Ch'eng under Emperor Hui-tsung, or by a Y'an (1279-1368) artist."", ""A blanket of snow covers the scene with a temple behind a slope at the middle right. Majestic mountains rise in the background. Three figures braving the cold and snow appear on a path towards the temple, with the two behind having just crossed a small bridge over a stream. The sky and water were washed in ink to leave the blank areas as snow, creating a dark and wintry scene punctuated by the craggy trees and sparse mountains. This work bears no seal or signature of the artist, but Tung Ch’i-ch'ang (the famed connoisseur-artist of the Ming) inscribed it as by the 10th-century artist Chu-jan. Modern scholarship, however, suggests it was either painted by Feng Kuan, a follower of Li Ch'eng under Emperor Hui-tsung, or by a Yuan (1279-1368) artist.""], ""網頁展示說明"": [""本幅據詩塘董其昌（1555？1636）的鑑定款題，定為五代巨然所作。巨然，南唐五代畫家，南唐亡為開元寺僧，工畫山水，以披麻皴描繪江南景物，畫風平淡天真。 　　本幅構圖大致可分為三景，主山雙峰屏立，雄巖峻險，表現出奇峰積雪靄靄幽深的北地景緻，儼然具有北宋氣度，而兩側鋸齒狀的岩塊，看似突兀奇倨，但卻有增強畫作張力的視覺效果。中景樓閣隱現山石間，客旅行於山徑上，近景則畫河岸兩側，枯枝樹石。山石皴法及造型似從披麻、捲雲皴而來，林木方面，松針尖挺，枯枝似郭熙蟹爪，但運筆佈墨極具畫家個人的特質。筆法與巨然平淡天真的江南風格有別，可能是宋人宗法李成風格之作。"", ""A blanket of snow covers the scene with a temple behind a slope at the middle right. Majestic mountains rise in the background. Three figures braving the cold and snow appear on a path towards the temple, with the two behind having just crossed a small bridge over a stream. The sky and water were washed in ink to leave the blank areas as snow, creating a dark and wintry scene punctuated by the craggy trees and sparse mountains. This work bears no seal or signature of the artist, but Tung Ch'i-ch'ang (the famed connoisseur-artist of the Ming) inscribed it as by the 10th-century artist Chu-jan. Modern scholarship, however, suggests it was either painted by Feng Kuan, a follower of Li Ch'eng under Emperor Hui-tsung, or by a Yuan (1279-1368) artist.""], ""參考書目"": [""〈五代南唐巨然雪圖　軸〉，收入李玉珉、何炎泉、邱士華主編《妙合神離-董其昌書畫特展》（臺北：國立故宮博物院，2016.01），頁262-263、397。"", ""林麗江，〈五代南唐巨然雪圖　軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁98-99。"", ""1.許郭璜，〈傳五代南唐巨然雪圖〉，收入《李郭山水畫系特展》（臺北：國立故宮博物院，1999年初版），頁9-14。\r\n2.王耀庭，〈五代南唐巨然雪圖〉，收入王耀庭主編，《傳移模寫》（臺北：國立故宮博物院，2007年初版），頁56。\r\n3.林莉娜，〈五代南唐巨然雪圖〉，收入林莉娜、張華芝編，《冬景山水畫特展圖錄》（臺北：國立故宮博物院，1989年元月初版），頁54-55。\r\n4.傅申，〈巨然存世畫蹟之比較研究〉，《故宮季刊》，第二第二期（1967年十月)，51-79。""], ""收藏著錄"": [""石渠寶笈續編（寧壽宮），第五冊，頁2653"", ""故宮書畫錄（卷五），第三冊，頁22-23"", ""故宮書畫圖錄，第一冊，頁89-90""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000020N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000020N000000000')""}]}"
-14441,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14441?dep=P&mode=full,五代南唐巨然層巖叢樹圖　軸,"{""文物統一編號"": ""故畫000023N000000000"", ""作品號"": ""故畫00002300000"", ""品名"": ""五代南唐巨然層巖叢樹圖　軸\nStoried Mountains and Dense Forests"", ""分類"": ""繪畫"", ""作者"": ""巨然,Juran"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""144.1x55.4""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""15.2x55.4""}, {""位置"": ""下方"", ""尺寸(公分)"": ""12x55.4""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}, {""質地位置"": ""下方"", ""質地"": ""綾""}, {""質地位置"": ""詩塘"", ""質地"": ""綾""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""庚寅（西元一七七０年）仲春御題"", ""書體"": ""行書"", ""全文"": ""迴嚴叠樹蔚層層。神與為遊韻與勝。何事香光生别議。出藍偏許仲圭能。庚寅（西元一七七０年）仲春御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""得佳趣""}, {""印主"": ""清高宗"", ""印記"": ""幾���怡情""}]}, {""題跋類別"": ""題跋"", ""作者"": ""董其昌"", ""位置"": ""詩塘"", ""款識"": ""其昌"", ""書體"": ""行書"", ""全文"": ""僧巨然真蹟神品。觀此圖。始知吳仲圭師承有出藍之能。元四大家之自本自根。非易易也。其昌。""}, {""題跋類別"": ""題跋"", ""作者"": ""王鐸\n印記\nexpand_more"", ""位置"": ""下方"", ""款識"": ""崇禎皇帝十六年"", ""書體"": ""行書"", ""全文"": ""層巖生動。竟移葠泉日華諸峰於此。明日別滸墅。心猶遊其中。王鐸題為石𡪾親契。癸未三月夜。同觀者吾諸弟與朱五溪。時雨新來未滂。吾占驗諸占否否。崇禎皇帝十六年。"", ""印記資料"": [{""印主"": ""王鐸"", ""印記"": ""西雒王鐸""}]}, {""題跋類別"": ""題籤"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": """", ""款識"": """", ""書體"": ""行書"", ""全文"": ""巨然層巖叢樹真蹟神品。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""明官印"", ""印記"": ""司印（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""尚書省印""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""宣和殿寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠繼鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑑藏寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": ""披麻皴""}]","{""內容簡介"": [""巨然（活動於西元十世紀後期），江寧（今南京）人。開元寺僧，擅寫江南景色，師法董源，亡國後，隨李後主至北宋汴京。因巨然曾接受北方畫壇的影響，故而一變董源橫向發展的「平遠」山水而為立軸形式的「高遠」山水，但是用以描繪山巒的「披麻皴」與山頂山石的「礬頭」，仍是董巨派的特徵。另外，畫中使用淡墨，用以捕捉一抹雲嵐的氛圍，讓人想起煙雨江南，則不改其南方山水畫派的本質。"", ""本幅山水自十七世紀以來即為評家指為巨然之代表作品。但此是否巨然親筆，因為款識資料，近代學者尚無定論。最近本院在畫面右上方發現「尚書省印」，該印出自十二世紀初，為本作之時代下限提供了新的參考。 與一般所見北宋山水畫不同，本作缺乏中、遠景的區隔，只對瀰漫著煙嵐的山中景致作近距離的描寫。北宋時存在著一種多軸連屏的形式，或許此軸正是某套成組山水的部份。(20061206)"", ""巨然（活動於10世紀後半），鍾陵（今南京）人。南唐滅亡，隨李後主降宋至汴京。工畫山水，師事董源，與師齊名，並稱董巨。\r\n此軸表現江南林木挺勁、煙嵐繚繞的氣象，景物虛實變化巧妙。描繪鬆軟土石的披麻皴與山頭卵石的礬頭，皆為「董巨畫派」典型特徵。「之」字形路徑蜿蜒縈迴深入山中，增添了畫面的縱深感。詩塘上方明代董其昌將此圖定為「僧巨然真蹟神品」。\r\n(20110913)""], ""Description"": [""Juran was a native of Zhongling (modern Nanjing). After the Southern Tang was vanquished, he followed its ruler, Li Houzhu, in surrendering to the Song and going to its capital of Bianjing. Juran excelled at painting landscapes, studying with Dong Yuan and achieving fame equal to his teacher, hence becoming known together as “Dong-Ju.”\r\n\tThis painting exhibits the powerful forests of Jiangnan and its atmosphere of swirling mists and fog, the solid and void areas in the scenery are varied with marvelous effects. The rendering of “hemp-fiber” texturing for the soft earth and “alum heads” for the round rocks of the mountaintops are typical features of the “Dong-Ju Painting School.” A zigzagging path also meanders deep into the mountains, adding to a sense of depth in the painting. Dong Qichang in the mounted inscription on this painting wrote, “Authentic work in the ‘Spirited’ category by the monk Juran.”\r\n(20110913)"", ""Since the 17th century, this landscape painting has been regarded by connoisseurs as a representative work of Chu-jan. However, whether it was actually done by him, based on information in the inscription, has yet to be decided among modern scholars. Nevertheless, researchers working at the National Palace Museum have recently discovered a seal in the upper right part of the painting that reads, “Shang-shu sheng yin” (Seal of the Department of State Affairs). This official seal was used in the early 12th century, offering new evidence extending the date of the work back to at least this period. As opposed to features commonly seen in Northern Sung landscape paintings, this work lacks a clear distinction between the middle- and background, instead only depicting a short distance of the peaks pervaded by mist in the middleground scenery. In the Northern Sung there appeared a kind of multiple hanging scroll screen landscape presentation, and perhaps this work was originally part of such a set of such paintings in this formula.(20061206)"", ""Chu-jan, a native of Chiang-ning (modern Nanking), was a monk at the K'ai-yuan Temple who painted Kiangnan scenery. A student of Tung Yuan, after the fall of the Southern T'ang, he followed the vanquished Li Hou-chu to the Sung capital K'ai-feng. Since Chu-jan came under the influence of the northern landscape style, his horizontal \""level-distance\"" manner of Tung Yuan was adapted to become a vertical \""high distance\"" one. Yet he still retained the Tung style of \""alum heads\"" for mountaintops and \""hemp-fiber strokes\"" to texture the hills. He also continued to use light ink to capture the atmosphere of cloudy hills to suggest Kiangnan shrouded in mist and rain, thus retaining aspects of the southern landscape tradition.""], ""收藏著錄"": [""石渠寶笈初編（養心殿），上冊，頁642"", ""故宮書畫錄（卷五），第三冊，頁26"", ""故宮書畫圖錄，第一冊，頁99-100""], ""參考書目"": [""1.林柏亭，〈五代南唐巨然層巖叢樹圖〉，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62-63。\r\n2.陳韻如，〈五代南唐巨然層巖叢樹圖　軸〉，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50-53。\r\n3.〈五代南唐巨然層巖叢樹〉，收入國立故宮博物院編輯委員會編，《山水畫墨法特展圖錄》（臺北：國立故宮博物院，1987年七月初版），頁59。\r\n4.林柏亭，〈五代南唐巨然層巖叢樹〉，《故宮文物月刊》，第200期（1999年11月），頁24-25。\r\n5.傅申，〈巨然存世畫蹟之比較研究〉，《故宮季刊》，第二卷第二期（1967年十月)，51-79。\r\n6.彭慧萍，〈兩宋\""尚書省印\""之研究回顧暨五項商榷〉，《故宮博物院院刊》，第141期(2009年第1期)，頁44-59。\r\n7.林莉娜，〈五代南唐巨然層巖叢樹圖〉，收入蔡玫芬主編，《精彩一百　國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁250。"", ""〈五代南唐巨然層巖叢樹圖　軸〉，收入李玉珉、何炎泉、邱士華主編《妙合神離-董其昌書畫特展》（臺北：國立故宮博物院，2016.01），頁258-261、397。"", ""國立故宮博物院編輯委員會，〈五代南唐巨然層巖叢樹圖　軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁62-63。"", ""林麗江，〈五代南唐巨然層巖叢樹圖　軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁96-97。""], ""網頁展示說明"": ""巨然（西元10世紀後半葉），南唐鍾陵人，開元寺的和尚。南唐被宋滅亡（西元975年）後，巨然隨李後主降宋，而遷至汴梁。擅畫山水，畫法學自董源。繼承其師之披麻皴（如麻布纖維散開來一般的筆觸表現）而自創山巒陰鬱層疊情景之畫格，被稱贊為造化之神。\r\n此幅畫山徑曲折縈迴，穿過樹林深入山中。除林麓間、峰巒上有俗稱「卵石」或「礬頭」之群石之外，山石多以披麻皴法細膩描繪，筆筆沉著而帶潤澤之意。山間由下到上配以蒼鬱的樹林，巧妙地表現出深山沈潛的景觀。如董其昌「巨然真跡神品」題識所示，堪稱巨然畫中絕佳珍品。\r\n(20110913)""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000023N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000023N000000000')""}]}"
-14443,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14443?dep=P&mode=full,五代後蜀滕昌祐牡丹　軸,"{""文物統一編號"": ""故畫000025N000000000"", ""作品號"": ""故畫00002500000"", ""品名"": ""五代後蜀滕昌祐牡丹　軸\nPeonies"", ""分類"": ""繪畫"", ""作者"": ""滕昌祐"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""99.7x53.5""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": """", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""滕昌祐筆妙""}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""自天祐之吉無不利""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""牡丹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""苔點"", ""技法細目"": """"}]","{""內容簡介"": [""滕昌祐（活動於西元九世紀後期），吳人，隨僖宗避黃巢亂入蜀，與刁光胤同居四川。其畫風亦屬工麗一路，隨類賦彩，用色鮮艷，擅繪鵝、折技花果及蟬雀。黃筌畫鳥雀師刁光胤，花竹則師滕昌祐，滕刁二人，對北宋院體花鳥畫之發展，皆有功焉。本幅舊傳為五代滕昌祐之作，繪湖石牡丹，左右、繁疏、高下相對，布置得體。用墨筆鉤勒花瓣，復填色於內，以白粉點蕊。葉則先塗色再鉤出葉脈。湖石筆意疏澹，再以石綠提醒墨苔，全幅於工謹中別有流麗之意趣。"", ""滕昌祐（約活動於九世紀後期），吳（今江蘇蘇州）人，隨僖宗避黃巢亂入蜀（八八一），用色鮮艷，擅繪鵝、折技花果及蟬雀。\r\n\r\n本幅繪湖石牡丹，花葉筆觸變化多端，花瓣先以墨筆鉤勒再填色，並以白粉點飾花蕊，湖石筆意疏澹，構圖右繁左簡，全幅於工謹中別有流麗的意趣。\r\n\r\n本幅舊題為五代滕昌祐之作，從畫風看，成畫時間當在明代中晚期。(20110405)""], ""Description"": [""Teng Changyou, a native of Wu (modern Suzhou, Jiangsu), followed Emperor Xizong to Sichuan to avoid rebellions in the late Tang (881). Using gorgeous colors, he specialized in painting geese, broken-stem flowers and fruit, and cicadas and peacocks. This painting depicts a lake rock and peonies, the brushwork of the flowers and leaves with many variations. The petals were first outlined in ink and then filled with colors, the stamens dotted with white. The rocks are done in clear strokes, the composition complex to the right and simpler to the left. The scroll has an air of beauty and refinement in the fine brushwork. Judging from the style of this old attribution to Teng Changyou, it was probably done in the middle to late Ming dynasty (1368-1644).(20110405)"", ""T'eng Ch'ang-yu, a native of Wu (modern Chekiang province), followed Emperor Hsi-tsung (r. 874-880) to Szechwan province during the disturbances at the end of the T'ang dynasty and took up residence with another artist, Tiao Kuang-yin. His painting style is meticulous and beautiful, rich in detail and color. He excelled in painting geese, flowers, fruit, birds, and insects. The famous bird-and-flower painter Huang Ch'uan learned to paint birds from Tiao Kuang-yin and flowers and bamboo from T'eng Ch'ang-yu. Both Tiao and T'eng contributed greatly to the development of bird-and-flower painting in the Northern Sung (960-1126) Painting Academy. This scroll, formerly attributed to the Five dynasty master T'eng Ch'ang-yu, is a depiction of a Lake T'ai rock and peonies. The rock and peonies are masterfully balanced with open space, resulting in a harmonious composition. Light ink was used to outline the petals of the peonies, and colors were then added of fill in the outlines. The stamens are dotted with white powder. The leaves were first colored, and the veins were then outlined in ink. The rock, painted with clear brushstrokes, is adorned with light green moss dots. The entire scroll imparts an air of beauty with its craftsmanship.""], ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1366"", ""故宮書畫錄（卷五），第��冊，頁29"", ""故宮書畫圖錄，第一冊，頁115-116""], ""參考書目"": ""1.〈五代‧後蜀滕昌祐牡丹〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁200。\r\n2.本社，〈五代前蜀滕昌祐牡丹〉，《故宮文物月刊》，第50期（1987年5月），頁1。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000025N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000025N000000000')""}]}"
-14442,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14442?dep=P&mode=full,五代前蜀貫休畫羅漢　軸,"{""文物統一編號"": ""故畫000024N000000000"", ""作品號"": ""故畫00002400000"", ""品名"": ""五代前蜀貫休畫羅漢　軸\nLohan"", ""分類"": ""繪畫"", ""作者"": ""貫休"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""139.9x62.8""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""34.5x62.8""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""唐筆應真傳貫休。天花兩朶注凝眸。設於空色求精義。即景應存疑信不。丁巳（西元一七九七年）仲冬中澣。御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""太上皇帝""}, {""印主"": ""清高宗"", ""印記"": ""十全老人""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": """", ""書體"": """", ""全文"": ""禪月心緣"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""太上皇帝之寶""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""珠林三編""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""祕殿珠林""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""羅漢（應真、尊者）"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""佛道侍者"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": ""薝葡花""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文玩（琴棋書畫）"", ""主題說明"": ""書畫""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""宗教器用"", ""主題說明"": ""念珠""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""花器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": ""傢俱""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}]","{""收藏著錄"": [""秘殿珠林三編（乾清宮），頁57"", ""故宮書畫錄（卷五），第三冊，頁28-29"", ""故宮書畫圖錄，第一冊，頁111-112""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000024N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000024N000000000')""}]}"
-799,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/799?dep=P&mode=full,五代南唐巨然寒林晚岫圖　軸,"{""文物統一編號"": ""故畫000022N000000000"", ""作品號"": ""故畫00002200000"", ""品名"": ""五代南唐巨然寒林晚岫圖　軸"", ""分類"": ""繪畫"", ""作者"": ""巨然"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""139.7x55.8""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}]","[{""題跋類別"": ""題跋"", ""作者"": ""黃宣\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""黃宣"", ""書體"": ""楷書"", ""全文"": ""巨然禿阿師。清氣噴滿手。觸筆天籟生。寸楮敵璚玖。黃宣。"", ""印記資料"": [{""印主"": ""黃宣"", ""印記"": ""彥伯""}]}, {""題跋類別"": ""題跋"", ""作者"": ""楊維楨\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""鐵篴叟楊維楨"", ""書體"": ""行草書"", ""全文"": ""巨然輕嵐淡墨。自為一體。其下筆蒼古。若不經意。而使文人巧夫。再三摸索。終不可到。真與凡遠耶。鐵篴叟楊維楨。"", ""印記資料"": [{""印主"": ""楊維楨"", ""印記"": ""會稽楊維禎印""}, {""印主"": ""楊維禎"", ""印記"": ""廉夫""}]}, {""題跋類別"": ""題跋"", ""作者"": ""陶宗儀\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""天臺陶宗儀題"", ""書體"": ""行書"", ""全文"": ""晚岫寒林潑眼明。妍鮮墨暈曙烟澄。點畫自多高世意。峰頭水面任天真。天台陶宗儀題。"", ""印記資料"": [{""印主"": ""陶宗儀"", ""印記"": ""陶氏九成""}]}, {""題跋類別"": ""題跋"", ""作者"": ""超然\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""超然題巨老寒林晚岫"", ""書體"": ""行書"", ""全文"": ""山畏嶠披清。櫺橑胼懽。水娛山栖。桃源輞川。悠悠勝情。全露筆端。實巨靈手。信小乘禪。超然題老巨寒林晚岫。"", ""印記資料"": [{""印主"": """", ""印記"": ""□（一印不識）""}, {""印主"": """", ""印記"": ""□□（一印不識）""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""名蹟由來稱巨然。卻因裝潢失其全。四家題各出手眼。頓置斯圖不少焉。戊申（西元一七八八年）清和上澣御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印主"": ""清高宗"", ""印記"": ""猶日孜孜""}]}, {""題跋類別"": ""簽"", ""作者"": """", ""位置"": ""包首"", ""款識"": """", ""書體"": ""楷書"", ""全文"": ""巨然寒林晚岫圖。""}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（一印不可識）""}, {""印記類別"": ""收傳印記"", ""印主"": ""邢侗"", ""印記"": ""邢氏子愿書畫之記""}, {""印記類別"": ""收傳印記"", ""印主"": ""來復"", ""印記"": ""來復""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""苔點"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""披麻皴""}]","{""內容簡介"": ""本幅畫群山溪壑，林樹彌望，山石皴紋多以濕筆染破，明晦隱現，輪廓模糊，特饒山野煙霧之致。本幅無作者款印，依據舊籤，定為巨然之作，然筆墨則與江參（活動於西元十二世紀初）較為近似。巨然（十世紀），南唐鍾陵人，為開元寺僧。南唐亡（九七五年），隨李後主煜降宋，至汴梁。工畫山水，師事董源。善狀煙嵐景象，臻於妙境，與師齊名，並稱董巨。"", ""Description"": ""Ch'-jan, a native of Chung-ling during the Southern T'ang dynasty, was a monk of the K'ai-y'an Temple. When the Southern T'ang dynasty fell in 975 A.D., he submitted to the Sung and went to the capital at Pien-liang (K'ai-feng). Ch'-jan, a landscape painter, is noted for his exquisite paintings of mist-covered mountains. His fame was as great as that of his teacher, Tung Y'an, their names often being coupled together. In this painting, wood-covered hills and streams that wind through ravines stretch into the distance. The texture strokes of rocks and mountains have been applied with a moist brush so that light and shadow merge and outlines are vague, especially where mist swirl around the mountains. This painting bears neither signature nor seals, but is a painting by Ch'-jan according to the label. However, the brushwork and use of ink resembles more closely that of Chiang Shen (early 12th c.)."", ""收藏著錄"": [""石渠寶笈續編（御書房），第四冊，頁1916"", ""故宮書畫錄（卷五），第三冊，頁25-26"", ""故宮書畫圖錄，第一冊，頁97-98""], ""參考書目"": ""1.傅申，〈巨然存世畫蹟之比較研究〉，《故宮季刊》，第二第二期（1967年十月)，51-79。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000022N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000022N000000000')""}]}"
-14445,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14445?dep=P&mode=full,五代後蜀黃筌長春竹雀　軸,"{""文物統一編號"": ""故畫000027N000000000"", ""作品號"": ""故畫00002700000"", ""品名"": ""五代後蜀黃筌長春竹雀　軸\nBamboo and Sparrows in Late Spring"", ""分類"": ""繪畫"", ""作者"": ""黃筌"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""98.3x61.6""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""黃筌"", ""位置"": ""本幅"", ""款識"": ""黃筌"", ""書體"": """", ""全文"": """"}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": """", ""主題說明"": ""董雞""}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鶺鴒"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""月季　玫瑰　薔薇"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": ""黃筌（活動於西元十世紀前期），四川成都人。字要叔。童年的時候，就善於繪畫。長大之後，從刁光胤、滕昌祐、李昇、孫位、薛稷幾位名家那裡學得各家的長處，使他的畫藝更加進步，並且脫離前人的格局，而有自己的面貌。十七歲便在前蜀後主（西元九一八—九二五年）宮廷裡，任待詔職務。\r\n他最擅長於花鳥，大都畫宮廷裡的珍禽奇卉。作畫時，先以墨筆很嚴謹地勾勒線條，然後再層層填染色彩。他的色調鮮明艷麗，特別有富麗堂皇的感覺。"", ""Description"": ""Huang Ch'uan (style name Yao-shu) came from Ch'eng-tu in Szechuan. He was already an excellent painter as a child but his art progressed even further as an adult when he studied the works of his contemporaries Tiao Kuang-yin, T'eng Ch'ang-yu, Li Sheng, Sun Wei, and Hsueh Chi. Nonetheless, he was able to cast aside the influence of former painters to establish his own style. At the age of 16 he was already serving as Painter-in-Attendance in the palace under Emperor Hou-chu (r. 918-925) of the Former Shu.\r\n  Huang Ch'uan specialized in painting flowers and birds, especially the rare birds and exotic plants kept in the palace. When painting, he would first lay out the composition with fine ink outlines and then build up the colors in successive layers. His paintings are most notable for their use of bright, beautiful colors which create a sense of gorgeousness and grandeur."", ""收藏著錄"": [""石渠寶笈初編（御書房），下冊，頁1138"", ""故宮書畫錄（卷五），第三冊，頁30-31"", ""故宮書畫圖錄，第一冊，頁119-120""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000027N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000027N000000000')""}]}"
-1266,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1266?dep=P&mode=full,宋李成群峰霽雪　軸,"{""文物統一編號"": ""故畫000033N000000000"", ""作品號"": ""故畫00003300000"", ""品名"": ""宋李成群峰霽雪　軸\nClustered Peaks After a Snowfall"", ""分類"": ""繪畫"", ""作者"": ""李成,Li Cheng"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""77.3x31.6""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""高士奇\n印記\nexpand_more"", ""位置"": ""邊幅"", ""款識"": ""江村高士奇竹窗"", ""書體"": """", ""全文"": ""雪積峰峰白。烟寒樹樹稠。寺深疎磐遠。澗咽凍泉流。靜對衣憎薄。澄懷路可求。毫端師造化。畫史重營丘。康熙戊寅(1698)七月。秋暑尚熾。懸營丘群峰霽雪圖於簡靜齋壁。漫題。江村高士奇竹窗。"", ""印記資料"": [{""印主"": ""高士奇"", ""印記"": ""士奇""}, {""印主"": ""高士奇"", ""印記"": ""高澹人""}, {""印主"": ""高士奇"", ""印記"": ""竹窗""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""宋定國"", ""印記"": ""心遠堂""}, {""印記類別"": ""收傳印記"", ""印主"": ""高士奇"", ""印記"": ""江村祕藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""李霨"", ""印記"": ""李霨""}, {""印記類別"": ""收傳印記"", ""印主"": ""李霨"", ""印記"": ""坦園圖書""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱世熏"", ""印記"": ""宛平朱世熏印""}, {""印記類別"": ""收傳印記"", ""印主"": ""高士奇"", ""印記"": ""抱瓮翁""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""重華宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}]","{""內容簡介"": ""李成（西元九一六—九六七年），其先唐宗室，避地營丘，因而徙家居此。本圖畫雪峰寒樹，泉流、空亭、寺院點綴其間。畫無名款，經清初高士奇收藏，裱綾一六九八年題中有「懸營丘羣峰霽雪圖於簡靜齋」語，應為畫名由來。李成擅畫山水寒林，後世相關母題多託其名。本幅用墨較濃，山石以類似小斧劈皴擦暗面；全幅烘染，表現氤氳之氣。然用筆細碎，山勢疊嶂較為平面，或為晚明仿作。"", ""Description"": ""Li Ch’eng descended from a T’ang imperial family seeking refuge in Ying-ch’iu. This work depicts snowy peaks and wintry trees interspersed with a stream, empty pavilion, and temple architecture. Though with neither seal nor signature of the artist, a 1698 inscription on the mounting from the collector Kao Shih-ch’i mentions “Chien-ching Studio among Clustered Peaks After Snowfall in Ying-ch’iu.” Li Ch’eng excelled at landscapes of wintry forests, with many later such works attributed to him. The ink here is relatively thick, the earthen forms revealing dark, small “axe-cut” texture strokes and ink washes to impart atmosphere. Also, the small strokes, flat peaks and layered ridges suggest a late Ming dynasty (1368-1644) imitation."", ""收藏著錄"": [""石渠寶笈續編（重華宮），第三冊，頁1508"", ""故宮書畫錄（卷五），第三冊，頁34-35"", ""故宮書畫圖錄，第一冊，頁143-144""], ""參考書目"": ""1.本社，〈宋李成群峰霽雪〉，《故宮文物月刊》，第69期（1988年12月），封底裡。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000033N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000033N000000000')""}]}"
-1267,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1267?dep=P&mode=full,宋李成寒林平野圖　軸,"{""文物統一編號"": ""故畫000035N000000000"", ""作品號"": ""故畫00003500000"", ""品名"": ""宋李成寒林平野圖　軸\nLevel Plain and Wintry Trees"", ""分類"": ""繪畫"", ""作者"": ""李成,明人 Anonymous,Ming Dynasty"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""137.8x69.2""}, {""位置"": ""全幅"", ""尺寸(公分)"": ""303x96""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""宋徽宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""楷書"", ""全文"": ""李成寒林平野。"", ""印記資料"": [{""印主"": ""宋徽宗"", ""印記"": ""御書（半印）""}, {""印主"": ""宋徽宗"", ""印記"": ""宣和""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""癸未新春御題"", ""書體"": ""行書"", ""全文"": ""枯柯錯出老松枝。漠漠寒臯欲雪時。憶向龍泉經一再。壹懷此景每逢之。癸未（西元一七六三年）新春御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""柯九思"", ""印記"": ""柯九思(墨印)""}, {""印記類別"": ""收傳印記"", ""印主"": ""柯九思"", ""印記"": ""柯氏秘笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠繼鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""重華宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂善堂圖書記""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": ""寒林""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""水岸畫老松枯木，背景則山水平遠，景物蕭疏空闊。無作者款印，右上角仿題「李成寒林平野」。李成（西元九一六－九六七年），字咸熙，唐皇室後裔，本住陝西長安，唐末遷山東青州。個性放蕩不羈，好飲酒吟詩，善畫山水。李成作品於北宋末已極稀少，根據記載其畫筆墨精微，善於表現「氣象蕭疏，煙林清曠」的意境。本幅樹石畫法模仿李成寒林特徵，從畫風看應為明代仿作。(20120103)"", ""Description"": ""On a foreground bank by the water are old pines and withered trees with a background composition featuring a level distance, the scenery desolate and expansive. Though no artist’s seal or signature is here, an inscription in the upper right attributes it to Li Cheng (916-967). Descended from the Tang imperial clan, Li originally lived in Chang’an, Shaanxi, moving in the late Tang to Qingzhou, Shandong. Unbridled, he took to wine and poetry, excelling at landscape painting but his works already scarce by the late Northern Song. Records say his use of brush and ink is sublime, excelling at a “remote atmosphere and misty forests of pure spaciousness.” This work appears to be a Ming imitation that intentionally follows his wintry forests.(20120103)"", ""收藏著錄"": [""石渠寶笈初編（重華宮），下冊，頁793"", ""故宮書畫錄（卷五），第三冊，頁35-36"", ""故宮書畫圖錄，第一冊，頁147-148""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000035N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000035N000000000')""}]}"
-1223,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1223?dep=P&mode=full,宋李成寒江釣艇　軸,"{""文物統一編號"": ""故畫000036N000000000"", ""作品號"": ""故畫00003600000"", ""品名"": ""宋李成寒江釣艇　軸\nFishing Boat on a Wintry River"", ""分類"": ""繪畫"", ""作者"": ""李成,Li Cheng"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""170x101.9""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": """", ""位置"": ""本幅"", ""款識"": ""文山復心為戴氏□□書"", ""書體"": """", ""全文"": ""萬仞之山高插天。瀑布飛流千尺泉。山高仰見三峽近。白晝但見雲連烟。岧嶤直下幾百里。巖上有松巖下水。老松偃蓋走虯龍。六月蕭蕭寒風起。江間浪靜一漁舟。怡然獨釣披羊裘。長竿掣得□鰲上。不帶紅塵半點愁。此翁佳趣誰能若。呂望嚴陵擬斟酌。江山可易心不移。樂山樂水有真樂。畫師好手良難逢。萬物收拾歸圖中。便將風月等閒看。不出門庭要令生意終無窮。文山復心為戴氏□□書。""}, {""題跋類別"": ""題跋"", ""作者"": """", ""位置"": ""本幅"", ""款識"": ""文江。默庵。"", ""書體"": """", ""全文"": ""青山崔嵬勢接天。山中白雪飛岩泉。山耶水耶倚空壁。蒼蒼萬頃和雲煙。初疑蓬萊三萬里。無波無濤隔弱水。又疑帝子撒瓊瑤。破肉寒商揚石起。悠悠一叟棹輕舟。四時穿著如狐裘。厖眉白髮天下老。寸心炯炯無閑愁。嗟哉子陵未似若。錦鱗白酒恣傾酌。十二時中風雨來。兩耳不聞自歡樂。好山好水真難逢。誰能置我乎岩中。還君此畫更歎息。□□茅屋可歲終。何窮。（原文僅寫至此處）。文江。默庵。""}]","[{""印記類別"": ""收傳印記"", ""印主"": ""畢瀧"", ""印記"": ""畢瀧藏書畫記""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""漁船"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""耕織漁獵"", ""主題說明"": ""釣具""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": [""李成（西元916—967年），字咸熙。他是唐朝皇室的後裔，本住長安，唐末遷移到青州（今山東益都）。他的性情放蕩不羈，喜好喝酒、吟詩，擅長山水畫。山泉從懸崖上奔瀉而下，幾株古松參差挺峙。白雪覆蓋著大地，黝黑之中，顯得天地沉陰，江流寒凍，而有一個漁人在寒江中獨釣，善於形容寒意。山石皴染有如雲狀，圓渾厚重。用筆常扭轉運行，速度頗快，甚為粗放活潑。漁翁、小船的用筆全中鋒，細密穩健。"", ""李成（西元九一六—九六七年），唐朝皇室後裔，五代山東人。五代北宋初為水墨山水畫成熟時期，李成的松石平遠，富呎尺千里氣象。與北方荊浩、關仝、范寬，南方董源、巨然發展成兩大山水畫系。畫中高山飛瀑，巖上老松偃蓋。前景巨松挺立，漁人寒江獨釣。山石皴染如雲狀，受北宋郭熙山水畫皴法影響。然用筆活潑快速，不完全拘泥於物象。由畫風及題跋書風來看，應可接受為元人李郭畫風作品。"", ""李成（916－967），唐朝皇室後裔，山東人。五代至北宋初，李成的松石平遠，富呎尺千里氣象，與北方的荊浩、關仝、范寬，以及南方的董源、巨然發展出中國水墨山水畫的兩大系統。\r\n畫中高山飛瀑，巖上老松偃蓋。前景巨松挺立，漁人寒江獨釣。山石皴染如雲，受北宋郭熙山水畫皴法影響，然用筆活潑快速，不完全拘泥於物象。由畫風及題跋書風來看，推測為元人李郭派的作品。(20110913)""], ""Description"": [""Li Cheng, a descendant of the Tang dynasty imperial clan, was a native of Shandong first active in the Five Dynasties period. From the Five Dynasties to early Song dynasty, Li’s level-distance renderings of pines and rocks, with their atmosphere of great distance, formed part of the major northern tradition of Chinese ink landscape painting along with such northern artists as Jing Hao, Guan Tong, and Fan Kuan, in contrast to the southern tradition of Dong Yuan and Juran.\r\nIn this painting is a tall peak and a cascade with old pines dotting the craggy forms. Great pines stand in front, where a fisherman is alone on the cold river. Earthen forms, textured and washed into cloud-like shapes, reflect the later influence of Guo Xi’s texturing method. The vigorous, quick brushwork also does not fully adhere to natural forms. Thus, the style of the painting and inscription suggest a Yuan dynasty artist influenced by the Li-Guo School. \r\n(20110913)"", ""Li Ch’eng, a T’ang imperial descendant, was a native of Shantung. Ink landscape painting peaked in the Five Dynasties and early Sung, with Li’s level-distance pines and rocks having great distance. With such northern artists as Ching Hao, Kuan T’ung, and Fan K’uan, they formed a great landscape tradition. The tall peak with a cascade here is dotted with old pines and craggy forms. Great pines stand in front, where a fisherman is alone on the cold river. Earthen forms, textured and washed into cloud-like shapes, reflect the later influence of Kuo Hsi’s texture method. The vigorous, quick brushwork also does not fully adhere to natural forms. Thus, the painting and inscription style suggest a Yuan (1279-1368) work influenced by the Li-Kuo style."", ""Above a river bank, a waterfall cascades into the depths of a ravine. Several pines rise up from the bank above an old man who contentedly fishes the wintry waters. The land is covered by snow and the dark sky appears foreboding. The washes of texture strokes that define the rocks and mountains are effervescent, yet full and voluminous. The use of the brush in describing the trees and outlines of the rocks is animated and lively , while the renditions of the fisherman and skiff are steady. The artist here was obviously familiar with the style of Li Ch’eng and Kuo His (fl.11th c.) known as Li-Kuo. This painting bears neither seal nor signature of artist and has been traditionally attributed to Li Ch’eng. Some modern scholars believe that it might be from the hand of the Li-Kuo School painter Chu Te-jun (1294-1365) of the Yuan dynasty.""], ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁36-37"", ""故宮書畫圖錄，第一冊，頁149-150""], ""參考書目"": ""1.許郭璜，〈宋李成寒江釣艇〉，收入《李郭山水畫系特展》（臺北：國立故宮博物院，1999年初版），頁19-22。\r\n2.〈北宋李成寒江釣艇圖〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁212。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000036N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000036N000000000')""}]}"
-1275,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1275?dep=P&mode=full,宋范寬行旅圖　軸,"{""文物統一編號"": ""故畫000038N000000000"", ""作品號"": ""故畫00003800000"", ""品名"": ""宋范寬行旅圖　軸\nTravelers"", ""分類"": ""繪畫"", ""作者"": ""范寬,清人 Anonymous,Qing Dynasty"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""155.3x74.4""}, {""位置"": ""全幅"", ""尺寸(公分)"": ""333.6x102.8""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""乾隆丁丑 （西元一七五七年）三月御題"", ""書體"": ""行書"", ""全文"": ""山容雄勝秀。水勢急非寛。大是北方景。誰歌行路難。風疑生萬葉。雲欲出遥巒。簡淡四家法。於斯鼻祖看。乾隆丁丑（西元一七五七年）三月御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}, {""印主"": ""清高宗"", ""印記"": ""幾暇臨池""}]}, {""題跋類別"": ""題跋"", ""作者"": ""王時敏\n印記\nexpand_more"", ""位置"": ""左方褾綾"", ""款識"": ""辛亥（西元一六七一年）中秋日。西廬老人王時敏題"", ""書體"": """", ""全文"": ""余家所藏宋元名蹟。得之京師者。十之四。得之董文敏者。十之六。余寶愛之。不啻頭目髓腦。歲月如流。人事遷改。向者所藏。僅存一二。今撿舊笥得范華原行旅圖。絹素完好。英采煥發。真神物也。余年八十。屏謝塵事。惟對古人筆墨。聊以自怡。裝成因并志之。辛亥（西元一六七一年）中秋日。西廬老人王時敏題。"", ""印記資料"": [{""印主"": ""王時敏"", ""印記"": ""真趣""}, {""印主"": ""王時敏"", ""印記"": ""西廬老人""}, {""印主"": ""王時敏"", ""印記"": ""王時敏印""}]}, {""題跋類別"": ""題跋"", ""作者"": ""宋駿業\n印記\nexpand_more"", ""位置"": ""右方褾綾"", ""款識"": ""康熙丙子（西元一六九六年）三月既望。後學宋駿業。"", ""書體"": """", ""全文"": ""婁水之西田。有紙窗竹屋。煙客先生藏書畫之所。案頭得觀范華原真蹟。世所罕見。覺烟雲滿幅。樹木叢密。令人奪目駭心。方知古人用筆不凡。欣仰之至。石谷子是時在座。以竟日摹一縮本。贈余以遣興懷。亦得華原面目。漫識數言。以誌喜云。康熙丙子（西元一六九六年）三月既望。後學宋駿業。"", ""印記資料"": [{""印主"": ""宋駿業"", ""印記"": ""（一印不可辨）""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""徐宜菴"", ""印記"": ""山陰徐宜菴珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""王時敏"", ""印記"": ""太原王遜之氏收藏圖書""}, {""印記類別"": ""收傳印記"", ""印主"": ""王時敏"", ""印記"": ""王遜之書畫記""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""式古堂書畫""}, {""印記類別"": ""收傳印記"", ""印主"": ""徐宜菴"", ""印記"": ""挹青樓珍賞印""}, {""印記類別"": ""收傳印記"", ""印主"": ""王時敏"", ""印記"": ""掃花菴""}, {""印記類別"": ""收傳印記"", ""印主"": ""王時敏"", ""印記"": ""華峰主人鑒定""}, {""印記類別"": ""收傳印記"", ""印主"": ""王時敏"", ""印記"": ""烟客鑒藏""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""五福五代堂古稀天子寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾清宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""山徑"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": """"}, {""��題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""雨點皴""}]","{""內容簡介"": [""范寬（北宋早期人），華原（陜西耀縣）人，字仲立，本名中正。性寬厚有大度，故時人目之為范寬。山水始師李成，又師荊浩，後乃自立新法。本院藏有范寬谿山行旅圖，結構偉特，筆墨古厚，為傳世范畫名蹟。此幅與谿山行旅圖結構完全相同，惟溪橋部位稍有高下，尺幅亦較谿山行旅圖為小，原為王時敏所藏，池左有王氏跋語。"", ""本院藏有〈宋范寬谿山行旅圖〉，結構偉特，筆墨古厚，為傳世范寬名蹟。此幅與〈谿山行旅圖〉結構完全相同，惟溪橋部位稍有高下，尺幅亦較〈谿山行旅圖〉為小，缺少范寬原作雄偉高峻之感，不過筆墨精緻，顯示清初畫風所尚。原為王時敏所藏，畫幅左方有王氏跋語。原題為〈宋范寬行旅圖〉，就筆墨而言，應為清人仿作。(20120103)""], ""Description"": ""Fan Kuan’s (ca. 10th c.) “Travelers Among Mountains and Streams” in the National Palace Museum collection is spectacular in structure as well as hoary in brush and ink, being his most famous surviving masterpiece. The structure of this work is similar to that one, except for the rearrangement of various parts, such as the bridge and stream part being higher. “Travelers” is also smaller than Fan Kuan’s masterpiece and the use of brush and ink lacking the majestic and lofty quality of the original. The brushwork, though, is still refined, suggesting the style of the early Qing. Once in the collection of Wang Shimin, the mounting to the left features a colophon by him. Originally ascribed in the title to Fan Kuan, it is probably a Qing dynasty imitation.(20120103)"", ""參考書目"": [""劉芳如，〈宋范寬行旅圖　軸〉，收入《典範與流傳-范寬及其傳派》（臺北：國立故宮博物院，2015.07），頁70-79、321。"", ""劉芳如、浦莉安、陳韻如，〈宋范寬行旅圖　軸〉，收入《鎮院國寶-范寬．郭熙．李唐》（臺北：國立故宮博物院，2021.10），頁140-143。"", ""1.何傳馨，〈（原題宋范寬）行旅圖〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁240-241。""], ""收藏著錄"": [""石渠寶笈續編（乾清宮），第一冊，頁292"", ""故宮書畫錄（卷五），第三冊，頁41-43"", ""故宮書畫圖錄，第一冊，頁169-170""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000038N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000038N000000000')""}]}"
-45,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/45?dep=P&mode=full,宋范寬臨流獨坐圖　軸,"{""文物統一編號"": ""故畫000037N000000000"", ""作品號"": ""故畫00003700000"", ""品名"": ""宋范寬臨流獨坐圖　軸\nSitting Alone by a Stream"", ""分類"": ""繪畫"", ""作者"": ""范寬,Fan Kuan"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""156.1x106.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""何權"", ""位置"": ""本幅"", ""款識"": ""何權"", ""書體"": """", ""全文"": ""茅堂結構背江干。日日愛看江上山。箕踞盤陀吟未穩。不知身在畫圖間。何權。""}, {""題跋類別"": ""題跋"", ""作者"": ""昇楊牖"", ""位置"": ""本幅"", ""款識"": ""昇楊牖"", ""書體"": """", ""全文"": ""亦有名賢遠市朝。蕭然環堵住山椒。虛亭未足容清氣。據石臨流興自饒。昇楊牖。""}, {""題跋類別"": ""題跋"", ""作者"": ""王閑"", ""位置"": ""本幅"", ""款識"": ""王閑"", ""書體"": """", ""全文"": ""藐石林兮熹微。望佳人兮不歸。目眇眇兮愁絕。悵青山兮夕霏。王閑。""}, {""題跋類別"": ""題跋"", ""作者"": ""徐克諧\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""時洪武丙辰五月既望。太末徐克諧題於邑庠之論堂。"", ""書體"": """", ""全文"": ""年來深媿竊時名。爭似無官去就輕。李渤自甘居少室。謝安應不念蒼生。小橋曲徑孤村遠。茂樹清泉一雨晴。何日風流成二老。青鞵布襪遂幽情。時洪武丙辰五月既望。太末徐克諧題於邑庠之論堂。"", ""印記資料"": [{""印主"": ""徐克諧"", ""印記"": ""□□之��""}, {""印主"": ""徐克諧"", ""印記"": ""徐懋和""}]}, {""題跋類別"": ""題跋"", ""作者"": ""蘇伯衡\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""眉山蘇伯衡"", ""書體"": """", ""全文"": ""大山合沓橫陣雲。小山窈窕瓜文分。大山小山誰鑿斷。迴溪中有波沄沄。扁舟長繫太古石。略彴遙通何處村。數間茅屋少人住。萬壑松風多畫聞。臨流獨坐者誰子。嗒然已似忘昏昕。逍遙時詠池上作。酩酊自倒林下尊。時來好作東山起。麋鹿焉可同其羣。眉山蘇伯衡。"", ""印記資料"": [{""印主"": ""蘇伯衡"", ""印記"": ""蘇平仲""}]}, {""題跋類別"": ""題跋"", ""作者"": ""劉伯善\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""伯善"", ""書體"": """", ""全文"": ""峰巒兮嶄岩。溪谷兮潺湲。樂哉幽居兮。敻隔乎塵寰。吾將抱琴兮。相從乎泉石之間。伯善。"", ""印記資料"": [{""印主"": ""劉伯善"", ""印記"": ""金華""}, {""印主"": ""劉伯善"", ""印記"": ""安期里生""}, {""印主"": ""劉伯善"", ""印記"": ""劉氏伯善""}]}, {""題跋類別"": ""題跋"", ""作者"": ""池裀\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""池裀"", ""書體"": """", ""全文"": ""畫工能畫山。不識山之真。泉石阿誰曾著身。天機精到若有神。高低遠近隨所置。心與造化工無二。點布眾翻墨浪勻。迅掃尖排筆鋒利。翠嵐紅樹滿秋山。斷崖水落當松關。松下丈人坐不去。似訝此境非人間。君不見李將軍。王摩詰。一幅千尋妙難述。崩石驚濤聳觀目。瀟灑充君眼中物。廬山五老雁蕩峰。芒履杖藜何日同。佳境滿堂秋色動。山要隱隱來清風。池裀。"", ""印記資料"": [{""印主"": ""池裀"", ""印記"": ""中□後人""}]}, {""題跋類別"": ""題跋"", ""作者"": ""呂熒\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""呂熒"", ""書體"": """", ""全文"": ""輕綃水墨橫秋色。一曲溪山似輞川。柳浪欹湖俱在眼。何時花落醉猶眠。呂熒。"", ""印記資料"": [{""印主"": ""呂熒"", ""印記"": ""呂熒慎明之印""}]}, {""題跋類別"": ""題跋"", ""作者"": ""張彝\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""張彝"", ""書體"": """", ""全文"": ""自西南兮遐觀。江漫漫兮峰巑巑。雲冥冥兮上覆。奚紆迴兮中盤。吾不知其為何所兮。抑池陽之羣山。九華崒嵂以前列兮。浮圖依約乎崇巒。望謫仙兮不見。覺天宇之空間。青松白日以晦昧兮。碧巘倒浸乎蒼灣。石慘慘兮玉潤。楓蕭蕭兮霜殷。路崎嶇兮直上。欲南接乎荊蠻。渺夫人兮獨處。超逍遙兮盤桓。人間豈不有異境兮。嗟身紆兮青綸。安得羽翼極八表之外兮。駕黃鵠兮徠還。張彝。"", ""印記資料"": [{""印主"": ""張彝"", ""印記"": ""張秉彝印""}]}, {""題跋類別"": ""題跋"", ""作者"": ""桑以時\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""桑以時"", ""書體"": """", ""全文"": ""曹君手持山水圖。墨色黯淡雲糢糊。請我試作山水歌。對之神思馳八區。憶昔薄遊齊楚間。不見好畫常見山。匡廬巫峽千萬仞。江水下注聲潺潺。泰山三峰倚天碧。徂徠龜蒙皆辟易。上登絕頂俯日月。元氣鴻濛闔且闢。此圖恍惚欲相似。更有高閣清江裡。何人最得隱者趣。行到水窮望雲起。千林高樹動寒風。半崖飛瀑走玉虹。輕舟長向古渡泊。小逕自與仙源通。曹君愛畫意無極。此畫千金未可得。明朝肯作鹿門期。布襪青鞋踏秋色。桑以時。"", ""印記資料"": [{""印主"": ""桑以時"", ""印記"": ""桑以時印""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""癸巳初夏。御題。"", ""書體"": ""行書"", ""全文"": ""秋山真骨露。得骨范寬稱。大壑自為敻。崇峰不計層。溪崖觀水客。雲寺習禪僧。遠望弗離坐。誠看縮地能。癸巳初夏。御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""卞令之鑒定（重一）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""天目吳士讓圖書""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""王氏圖書子孫永寶之""}, {""印記類別"": ""收傳印記"", ""印主"": ""王獻臣"", ""印記"": ""王獻臣印""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""令之""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""仙客""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""式古堂""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""式古堂書畫""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""式古堂書畫印""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""希代之珍""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""前坵吳氏家藏""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂鑒藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""山徑"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": [""本幅具有典型北宋山水主山堂堂居中的雄偉構圖，畫中並無繪者款印，清代才歸於范寬（活動於十世紀後半－十一世紀初）名下。浮突的樹根、山頂的密林、粗礪的山石等，都明顯承繼自〈谿山行旅〉。但被切割的主山縮減了體積與量感，畫面充滿雲煙與山石的虛實對應，人物是獨坐岸邊、自覺性地觀照四周山水的文士，身分和與自然的關係都已與前作不同。畫中皴筆從范寬質樸直皴轉為側鋒刷染，已有斧劈皴意念，時代或稍晚於李唐。(20061206)"", ""范寬（活動於西元十世紀末年－十一世紀初），陝西華原人，本名中正，字仲立。因性情寬厚，當時人稱之為范寬。畫山水師承李成、荊浩，後揉合各家長處，而形成自已的新法。\r\n　　本幅山形輪廓多方折的線條，皴紋直勁有力，水墨層加漬染，用墨甚濃，有堅實厚重之感。林麓間留白作煙雲，與山石成虛實之呼應，凝重中有靈秀之韻。""], ""Description"": [""Fan K’uan(style name Chung-li) was a native of Shensi. He first followed Li Ch’eng in landscape painting but also studied the works of Ching Hao. Later, he developed his own style. He was known for his magnanimous and forthright character.\r\n\tThis work depicts a massive mountain and deep valley enshrouded with layers of mist. In the trees and rocks, Fan’s brushwork is ruggedly powerful. For the mountain boulders, modeling was lightly added after the outlines were done, giving a great sense of depth and weight. The most outstanding feature lies in the areas of mist represented as blank silk. The void works as a foil against the heavier inked sections, leaving a sense of delicate harmony amidst the ponderous masses."", ""This painting is typical of the monumental landscape manner of the Northern Sung, with its central dominant mountain majestically centered in the composition. Although it does not have the seal or signature of the artist, it was not until the Ch’ing dynasty that the work was ascribed to Fan K'uan. Such features as the “floating” tree roots, dense mountaintop forests, and coarse rocks and mountains all clearly follow in the tradition of Fan K'uan's masterpiece “Travelers Among Mountains and Streams”. However, the truncated form of the main mountain reduces the sense of volume and capacity, the painting surface correspondingly being filled with a contrast of solid and void represented by rock forms and misty clouds. In addition, the figure of the scholar sitting alone by the riverbank consciously observing the landscape around him reveals an identity and relationship with nature that markedly differs from that in “Travelers Among Mountains and Streams”. The texture strokes here also have been transformed from Fan K'uan's simple and direct texturing into wash strokes with a slanted brush, somewhat reminiscent of later “axe-cut” texture strokes developed by Li T'ang, but here done slightly after him.(20061206)""], ""網頁展示說明"": [""本幅無款，清代《式古堂書畫彙考》著錄為「范寬臨流獨坐圖」。與傳世范寬〈谿山行旅〉相較，山頂攢簇密林、山石輪廓墨濃且粗細多變化、樹木樹根浮突等特點，確近范寬風格。然從山水空間結構及筆墨來看，繪製年代推測為南宋初年。\r\n畫中人物臨流獨坐，別於北宋山水畫點景人物多為市井小民。學者認為此畫山水作為人物居住及觀照的對象，反映兩宋之際士大夫默坐澄心的人格旨趣。\r\n(20110913)"", ""This painting is unsigned, but Catalogue of Painting and Calligraphy in the Shigu Hall from the Qing dynasty records it as “Fan Kuan’s ‘Sitting Alone by a Stream.’” Compared to Fan Kuan’s surviving masterpiece of “Travelers Among Mountains and Streams,” the features of dense forests clustered on mountaintops, outlines of mountain forms in dark ink varying in thickness, and exposure of tree roots all indeed are in the Fan Kuan style. However, judging from the spatial construct of space and the use of brush and ink, it appears that the date of production is slightly later during the early Southern Song period.\r\n\tIn the work is a figure sitting alone by a stream, which differs from other Northern Song landscape paintings dotted with figures who are mostly commoners. Scholars believe that this landscape was an object of idealized dwelling that reflected the goal of purifying the mind by sitting quietly as practiced by scholars of the late Northern and early Southern Song.\r\n(20110913)""], ""參考書目"": [""劉芳如，〈宋范寬臨流獨坐圖　軸〉，收入《典範與流傳-范寬及其傳派》（臺北：國立故宮博物院，2015.07），頁94-105、324-325。"", ""國立故宮博物院編輯委員會，〈宋范寬臨流獨坐圖　軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁68-69。"", ""林麗江，〈宋范寬臨流獨坐圖　軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁104-105。"", ""1.何傳馨，〈宋范寬臨流獨坐圖〉，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68-69。\r\n2.林莉娜，〈宋范寬臨流獨坐圖〉，收入林莉娜編，《秋景山水畫特展圖錄》（臺北：國立故宮博物院，1989年十月初版），頁63-65。\r\n3.馬孟晶，〈宋范寬臨流獨坐圖　軸〉，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60-65。\r\n4.馬孟晶，〈延續與變格 — 〈臨流獨坐〉與范寬風格〉，《故宮文物月刊》，第283期（2006年10月），頁14-21。\r\n5.朴載碩，《傳范寬《臨流獨坐圖》之研究》，國立台灣大學藝術史研究所碩士論文，1993年。\r\n6.許文美，〈宋范寬臨流獨坐圖〉，收入蔡玫芬主編，《精彩一百　國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁258。""], ""收藏著錄"": [""石渠寶笈續編（寧壽宮），第五冊，頁2648"", ""故宮書畫錄（卷五），第三冊，頁37-39"", ""故宮書畫圖錄，第一冊，頁159-161""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000037N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000037N000000000')""}]}"
-15597,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/15597?dep=P&mode=full,宋黃居寀蘆雁　軸,"{""文物統一編號"": ""故畫000040N000000000"", ""作品號"": ""故畫00004000000"", ""品名"": ""宋黃居寀蘆雁　軸\nGeese among Reeds"", ""分類"": ""繪畫"", ""作者"": ""黃居寀"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""144.5x93.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題籤"", ""作者"": """", ""位置"": """", ""款識"": """", ""書體"": """", ""全文"": ""黃居寀蘆雁。元字神品。""}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""雁"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""蘆葦"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""壽帶"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": [""煙水寒汀，雁鳥一縮頸瞑目，狀似睡眠，兩隻引首顧側，若守望警戒。岸旁惟見三五蘆葦，情景蕭瑟，撩人寒思。 黃居寀（西元九三三—九九三年以後），四川成都人，字伯鸞。為五代西蜀名畫家黃筌的第三子，承襲家學，善畫園竹翎毛、怪石及山水。他本任職蜀國，蜀亡入宋，尤得宋太宗禮遇，命他搜訪名畫，評定品目，黃家的畫法遂成為宋初圖畫院較藝優劣的標準。"", ""煙水寒汀，沙岸棲雁三隻，一縮項瞑目狀似憩息，二引首顧側，若守望警戒。岸旁惟見蘆葦三五，情景蕭瑟，撩人寒思。本幅中雁之造型、用筆及蘆雁之筆法，有明中葉著名的宮廷花鳥畫家呂紀（活動於一四三九─一五０五）之意。然皴石未見其常用之斧劈皴法，畫雁之筆平整，又蘆葦與石之線條較有起伏提頓，尤以水紋最為明顯，故或為後之仿呂氏者所作。 舊標為黃居寀之作。黃居寀（西元九三三─九九三年以後），四川成都人，字伯鸞。為黃筌（約九０三─九六五）季子，能傳家學。始與父同事孟蜀（九三四─九六五），為翰林待詔，蜀亡入宋，得太宗睠遇，委以搜訪名畫，詮定品目之責。黃筌、居寀父子之畫遂成為宋初畫院較藝優劣之標準。""], ""Description"": ""This work depicts a river against a misty backdrop as water laps against a wintry bank. Three geese are on the bank; one draws in its neck with eyes closed as the other two look around as if on guard. Several stalks of reeds grow behind them. The somber tone conveys the lonely cold of winter. Huang Chu-ts'ai , a native of Ch'eng-tu in Szechwan, was the third son of Huang Chuan , the famous painter of bamboo and animals, decorative rocks, and landscapes. After the Five Dynasties state of Shu fell, he joined the Sung. Rewarded by Emperor T'ai-tsung, he was ordered to search for famous paintings and to serve as court connoisseur. The Huang Chuan style thus became the standard for quality in the early Sung painting academy."", ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1383"", ""故宮書畫錄（卷五），第三冊，頁43"", ""故宮書畫圖錄，第一冊，頁173-174""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000040N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000040N000000000')""}]}"
-13944,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13944?dep=P&mode=full,宋祁序長堤歸牧　軸,"{""文物統一編號"": ""故畫000042N000000000"", ""作品號"": ""故畫00004200000"", ""品名"": ""宋祁序長堤歸牧　軸"", ""分類"": ""繪畫"", ""作者"": ""祁序"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""76.3x31.6""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""祁序\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""祁序"", ""書體"": ""隸書"", ""全文"": """", ""印記資料"": [{""印主"": ""祁序"", ""印記"": ""祁序畫記""}]}, {""題跋類別"": ""題跋"", ""作者"": ""文淵\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""至治五年秋日。文淵識。"", ""書體"": ""楷書"", ""全文"": ""夫寫生者。禽獸蟲魚。不一其類。而姿態情形。種種各別。非胸有靈機。筆有化工。烏能曲盡其玅乎。即牛之為物也。畜于農家。時而一犁春雨。耕于田間。時或滿坡芳草。逸于隴畔。時若半邨夕照。歸于堤上。風景各殊。而物情亦異。此長堤歸牧圖。筆意瀟灑。宛然生動。昔戴嵩以畫牛擅名。此圖可與抗衡矣。至治五年秋日。文淵識。"", ""印記資料"": [{""印主"": ""文淵"", ""印記"": ""文淵圖書""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""大明安楚昭勇將軍李氏珍玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""王時敏"", ""印記"": ""王遜之珍賞記""}, {""印記類別"": ""收傳印記"", ""印主"": ""危素"", ""印記"": ""危素印""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""牧童"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""牛"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(勻稱線條)"", ""技法細目"": """"}, {""技法"": ""苔點"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈續編（養心殿），第二冊，頁931"", ""故宮書畫錄（卷五），第三冊，頁44-45"", ""故宮書畫圖錄，第一冊，頁177-178""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000042N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000042N000000000')""}]}"
-13943,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13943?dep=P&mode=full,宋郭忠恕雪霽江行圖　軸,"{""文物統一編號"": ""故畫000041N000000000"", ""作品號"": ""故畫00004100000"", ""品名"": ""宋郭忠恕雪霽江行圖　軸\nTraveling on a River After Snow"", ""分類"": ""繪畫"", ""作者"": ""郭忠恕,Guo Zhongshu"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""74.1x69.2""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""宋徽宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""楷書"", ""全文"": ""雪霽江行圖。郭忠恕真跡。"", ""印記資料"": [{""印主"": ""宋徽宗"", ""印記"": ""御書之寶""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""辛亥（西元一七九一年）新正御題"", ""書體"": ""行書"", ""全文"": ""大幅何年被割裂。竿繩到岸沒人牽。江行底識嘗雪霽。剩有瘦金十字全。辛亥（1791）新正御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印主"": ""清高宗"", ""印記"": ""自彊不息""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蕉林秘玩""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""��記"": ""重華宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""客舫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""篷舟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": ""傢俱""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}]","[{""技法"": ""界畫"", ""技法細目"": """"}]","{""內容簡介"": [""郭忠恕字恕先（宣和畫譜的紀載：字國寶），河南洛陽人。他的性格豪爽，行為放蕩，在文章、篆隸書法及繪畫方面，卻都有很高的造詣。年青時，在後周（951-960）作官，任博士的職務。到了宋朝，曾經當國子主簿，但遭受貶職的處分。他特別擅長於界畫，不但能把樓台殿閣畫得詳細精緻，而且還合乎尺寸比例。這幅畫的船隻，無論是船身、船艙、舵樓、桅桿等，都描繪得非常仔細，各部份的結構也非常嚴謹合理。是研究宋代船隻的最佳參考資料。"", ""一般所謂的「界畫」都在畫殿閣舟船等結構複雜的對象，畫法上則以細緻而控制嚴謹的線條作為其特徵。它之成為正式畫科，發生在北宋，而郭忠恕則是第一位被提到的大師。此幅左側宋徽宗書風的題識，即指郭忠恕為作者。 畫中以兩艘大船為主，桅杆上有兩道向畫外的牽繩，卻不見牽夫，推測畫幅曾受裁切。由桅杆及舵樓之細節表現精準來看，畫家確為明瞭船舶結構的專家。而由船伕與仕女的活動中，又另點出船主與官方的可能關聯。船的正側面表現特顯古樸，至十一、十二世紀後，就少見這種畫法了。(20061206)""], ""Description"": [""In general, so-called “ruled line” painting often involves such complex subjects as buildings and boats. The method features the precise control and refinement of the brush. Ruled-line painting became a formal theme in Chinese painting during the Northern Sung, and Kuo Chung-shu is mentioned as its first master. The left side of this painting bears an inscription in the style of Emperor Hui-tsung referring to Kuo Chung-shu as the artist. The subject here is two large boats. Attached to the masts of both is a rope extending beyond the border of the painting. As such, with no one seen pulling, it suggests that the right part of this work had been cut off at some time in the past. Judging from the refined and precise brushwork of the boats and their details, the painter must have been a professional with a high degree of understanding in the structure of boats. Furthermore, based on the activities of the men and ladies on the boats, it appears that those in charge of the ships were related to the government. The unusually simple form of the sides and front of the ships is rarely seen in painting after the 11th or 12th century.(20061206)"", ""Kuo Chung-shu was a native of Lo-yang in Honan province. His tzu (style name) is recorded as both Shu-hsien and Kuo-pao. He was accomplished in the literary arts, skilled at the seal and clerical styles of calligraphy, and a good painter. He was a generous and undemanding man, who took much pleasure in the humble things of life. A minor official and scholar during the latter Chou dynasty (951-960), he became a Registrar in the National Academy under the ensuing Sung dynasty. However, in this capacity he was cashiered and banished.As a painter, Kuo Chung-shu was classified as wonderful in landscape, rocks and trees, and architectural subjects. He was most especially famous for the accurate scale of his architectural studies. People felt they could run their hands along the bannisters in his paintings, pass along the balconies, open windows and shut doors. This painting shows boats on a river journey, their awnings piled with snow, their crewmen cowed by the cold‧""], ""參考書目"": [""林莉娜，〈宋郭忠恕雪霽江行圖　軸〉，收入劉芳如主編《遺珠-大阪市立美術館珍藏書畫》（臺北：國立故宮博物院，2021.08），頁44-47、261。"", ""1.林莉娜，〈五代郭忠恕雪霽江行圖〉，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22-23、97-98。\r\n2.國立故宮博物院編輯委員會，〈五代郭忠恕雪霽江行〉，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54。\r\n3.陳韻如，〈宋郭忠恕雪霽江行圖　軸〉，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240-245。""], ""收藏著錄"": [""石渠寶笈續編（重華宮），第三冊，頁1508"", ""故宮書畫錄（卷五），第三冊，頁31"", ""故宮書畫圖錄，第一冊，頁127-128""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000041N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000041N000000000')""}]}"
-46,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/46?dep=P&mode=full,宋黃居寀山鷓棘雀圖　軸,"{""文物統一編號"": ""故畫000039N000000000"", ""作品號"": ""故畫00003900000"", ""品名"": ""宋黃居寀山鷓棘雀圖　軸\nBlue Magpie and Thorny Shrubs"", ""分類"": ""繪畫"", ""作者"": ""黃居寀,Huang Jucai"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""97x53.6""}, {""位置"": ""詩塘 （左）"", ""尺寸(公分)"": ""13.7x36.3""}, {""位置"": ""詩塘（右）"", ""尺寸(公分)"": ""13.5x17.2""}, {""位置"": ""下邊幅"", ""尺寸(公分)"": ""13.5x53.6""}]","[{""質地位置"": ""下邊幅"", ""質地"": ""紙""}, {""質地位置"": ""詩塘（右）"", ""質地"": ""紙""}, {""質地位置"": ""詩塘（左）"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""宋徽宗"", ""位置"": ""詩塘（左）"", ""款識"": """", ""書體"": ""楷書"", ""全文"": ""黃居寀山鷓棘雀圖""}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘（右）"", ""款識"": ""御題"", ""書體"": ""行書"", ""全文"": ""棘雀愛卑栖。山鷓喜清廓。雀在高棘枝。鷓步低泉壑。圖之素絹中。短言識其畧。常聞古人云。君子慎所托。庚申（1740）御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""幾暇鍳賞之璽""}, {""印主"": ""清高宗"", ""印記"": ""乾隆御筆""}]}, {""題跋類別"": ""題跋"", ""作者"": ""梁詩正"", ""位置"": ""下邊幅"", ""款識"": ""臣梁詩正恭和"", ""書體"": """", ""全文"": ""斥鷃守藩籬。鷦䳟俯寥廓。大小隨所如。寧須限邱壑。閑尋逍遙義。雀鷓得其略。翾飛高下間。畫手偶然託。臣梁詩正恭和。""}, {""題跋類別"": ""題跋"", ""作者"": ""勵宗萬"", ""位置"": ""下邊幅"", ""款識"": ""臣勵宗萬恭和"", ""書體"": """", ""全文"": ""么禽羽毛族。所志在遐廓。唶嘖棲棘叢。鈎輈啼澗壑。瞻彼鸞鳳群。翱翔逞雄略。振翰乘春風。上林欣有託。臣勵宗萬恭和。""}, {""題跋類別"": ""題跋"", ""作者"": ""張若靄"", ""位置"": ""下邊幅"", ""款識"": ""臣張若靄恭和"", ""書體"": """", ""全文"": ""𩿾鷽同一飛。天宇本澄廓。潔露飲朱草。明霞餐黛壑。期不愧鴛鸞。何致哂渠略。高卑慎自處。含毫有深託。臣張若靄恭和。""}]","[{""印記類別"": ""收傳印記"", ""印主"": ""明內府印"", ""印記"": ""司印（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""宣和（微缺）""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""政和（微缺）""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""睿思東閣""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋理宗"", ""印記"": ""緝熙殿寶（漫漶微缺）""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""雙螭""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑒藏寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""山鷓"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""麻雀"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": ""雜草""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""荊枝"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}]","{""內容簡介"": [""黃居寀（西元九三三年生），字伯鸞，四川成都人。是花鳥畫名家黃筌的兒子，因家學的關係，在花鳥畫方面有很高的成就。他們父子的作品，在畫院中極受推崇， 以致成為畫院評畫的標準。 畫中的鳥鵲與竹石，布滿畫面，空白很少。設色淳厚無華，描法穩健，略帶稚拙之感，有著早期花鳥畫的裝飾意味，及古樸風韻。"", ""黃居寀（933－993以後），字伯鸞，四川成都人，是西蜀花鳥畫名家黃筌的季子，擅繪畫，尤精花竹、翎毛。西蜀亡後，隨蜀主降宋，深得太祖、太宗的恩寵眷遇。\r\n　本幅設色醇厚，描法穩健。畫中荊棘和鳳尾蕨的枝葉裝飾意趣濃厚，保存了唐代古樸而華美的遺風。不過山鷓全神貫注的神情、麻雀向背俯仰的動態，又都描繪得維妙維肖。全作在唐畫所重視的「形似」之外，又反映了宋代花鳥畫的寫生精神。\r\n(20110913)"", ""黃居寀（約933－993以後），四川成都人。字伯鸞，五代花鳥畫名家黃筌之子，善畫花竹、翎毛，為西蜀翰林待詔。蜀亡入宋，得宋太宗禮遇，黃家畫法遂成宋初畫院評畫的標準。 此幀採全景、中軸式構圖，畫溪畔巨石之側，一隻山鷓低頭似欲飲水，七隻麻雀或棲、或飛。石後的荊棘、蕨、竹的裝飾圖案意味濃厚，不過畫中山鷓專注的神情、麻雀的瞬間動態等，又為此畫增添了幾許「生趣」。(20061206)""], ""Description"": [""Huang Chu-ts'ai was a native of Ch'eng-tu in Szechwan who went by the style name Po-luan. Son of the famous Five Dynasties bird-and-flower painter Huang Ch'uan, he excelled at painting flowers-and-bamboo as well as birds-and-animals, formerly being a Painter-in-Attendance at the Hanlin Academy of the Western Shu court. After the Shu fell, he joined the Sung and was received by the Sung emperor T'ai-tsung, the Huang family style of painting gradually becoming the standard for judging works in this genre in the Imperial Painting Academy of the early Sung. This hanging scroll is a full-scene, centralized composition depicting a scene by the side of a large rock next to a stream. A blue magpie bends over as if about to drink some water as seven sparrows are shown flying or perched about. The decorative manner of the thorny shrubs, ferns, and bamboo behind the rock is quite strong, but the spirited concentration of the magpie and fleeting movements of the sparrows captured in this work imbue it with considerable “interest in life”.(20061206)"", ""Huang Jucai (style name Boluan), a native of Chengdu in Sichuan, was the youngest son of the famous Western Shu bird-and-flower painter Huang Quan. Specializing in painting, he was especially gifted at flowers and bamboo as well as birds and other animals. After the fall of the Western Shu, he followed the Shu ruler in surrendering to the Song, being much admired and rewarded by the early Song emperors Taizu and Taizong.\r\n\tIn this painting, the colors are simple and straightforward, while the method of rendering is firm and steady. The branches and stems of the thorny shrubs and phoenix-tail ferns are decorative with a pronounced manner preserving traces of the simple archaism and opulent beauty from the Tang dynasty. Furthermore, the spirit of absolute concentration on the part of the magpie and the twisting poses of the sparrows have all been captured remarkably true to life. Besides the emphasis on “formal likeness” found in Tang painting, this work also reflects the spirit of “sketching from life” in Song dynasty bird-and-flower painting.\r\n(20110913)"", ""Huang Chu-ts'ai, whose style name was Po-luan, was born in 933. He was a native of Chengtu, Szechwan and the son of the famous bird and flower painter Huang Ch'uan. Thus, from his studies within the family he became particularly accomplished in this genre. The work of the two Huangs were much admired in the painting academy and became the standard by which others were judged. In this painting the birds, rocks and bamboo fill the whole area leaving little empty space. The colors are applied with fullness, but avoid facile prettiness, and the descriptive technique is firm and strong with a slightly naive quality. This work has the simple and antique flavor of the bird and flower paintings of the early periods.""], ""收藏著錄"": [""石渠寶笈初編（養心殿），上冊，頁641"", ""故宮書畫錄（卷五），第三冊，頁43""], ""參考書目"": [""1.譚怡令，〈宋黃居寀山鷓棘雀圖〉，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78-79。\r\n2.李玉珉，〈宋黃居寀山鷓棘雀圖　軸〉，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172-177。\r\n3.譚怡令，〈國之重寶 — 書畫精萃特展〉，《故宮文物月刊》，第19期（1984年10月），頁21-22。\r\n4.譚怡令，〈宋黃居寀山鷓棘雀〉，《故宮文物月刊》，第100期（1991年7月），頁72。\r\n5.李玉珉，〈黃家體製的代表作─ 黃居寀〈山鷓棘雀圖〉   〉，《故宮文物月刊》，第277期（2006年4月），頁32-39。\r\n6.江兆申，〈山鷓棘雀、早春與文會(談故宮三張宋畫)〉，《故宮季刊》，第十一卷第四期（1977年夏），頁13-21。\r\n7.李玉珉，〈宋黃居寀山鷓棘雀圖〉，收入蔡玫芬主編，《精彩一百　國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁254。"", ""國立故宮博物院編輯委員會，〈宋黃居寀山鷓棘雀圖　軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁78-79。""], ""網頁展示說明"": ""黃居寀（西元933－993年以後），為四川成都人。字伯鸞，五代花鳥名家黃筌之子，繼承其父雙鉤填彩的風格。黃筌父子之畫且成為宋初圖畫院比較畫藝優劣的標準。\r\n此幅中景物有動有靜，配合得宜。像山鷓跳到石上，伸頸欲飲溪水的神態，就十分生動。另麻雀或飛、或鳴、或俯視下方，是動的一面；而細竹、鳳尾蕨和近景兩叢野草，有的朝左，有的朝右，表現出無風時意態舒展的姿態，則都予人從容不迫和寧靜的感覺。下方的大石上，山鷓的身體從喙尖到尾端，幾乎橫貫整個畫幅。背景則以巨石土坡，搭配麻雀、荊棘、蕨竹，布滿了整個畫面。畫的重心在於畫幅的中間位置，形成近於北宋山水畫中軸線的構圖方式。而具有圖案意味的佈局，有著裝飾的效果，顯示作者有意呈現唐代花鳥畫古拙而華美的遺意。\r\n(20110913)""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000039N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000039N000000000')""}]}"
-1229,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1229?dep=P&mode=full,宋燕文貴溪山樓觀　軸,"{""文物統一編號"": ""故畫000043N000000000"", ""作品號"": ""故畫00004300000"", ""品名"": ""宋燕文貴溪山樓觀　軸\nBuildings Among Mountains and Streams"", ""分類"": ""繪畫"", ""作者"": ""燕文貴,Yan Wengui"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""103.9x47.4""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""燕文貴"", ""位置"": """", ""款識"": ""翰林待詔燕文貴筆"", ""書體"": """", ""全文"": """"}, {""題跋類別"": ""題籤"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": """", ""款識"": """", ""書體"": """", ""全文"": ""燕文貴溪山樓觀圖。神品。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""戊辰（西元一七四八年）新秋月上澣御題"", ""書體"": ""行書"", ""全文"": ""崇臺百丈計延袤。更占溪山景最幽。名匪方壺定員嶠。居宜黃石與丹邱。樹無秋夏雲常綠。瀑任冬春玉鎮流。誰入維摩居士室。畫禪一脈此中留。戊辰（西元一七四八年）新秋月上澣御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""��""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""明內府印"", ""印記"": ""司印（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""安岐"", ""印記"": ""安儀周家珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""棠村審定""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蒼巖""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""蔣子厚氏怡閣""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""蹔得於己快然自足""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮續入石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂鑒藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""山徑"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""石磴、棧道"", ""主題說明"": ""棧道""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""水榭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": ""雨點皴""}]","{""內容簡介"": [""燕文貴（活動於西元10世紀－11世紀初），浙江吳興人，仁宗時畫院待詔。山水多作巨嶂高壁，人物、樓觀布置精巧，所作山水，細密清潤，富有變化，自成一家，人稱「燕家景致」。本幅畫溪山飛瀑，層巖樓觀，高出雲端。右方石壁上，有小字款署「翰林待詔燕文貴筆」，以粗重抖動之線條畫出山形輪廓，再用近似雨點的皴法，層層描寫山石的質感與量感，山谷以淡墨擦染出空氣明晦之效果，筆法細密，皆能代表燕文貴風格之特色，然此幅用筆較圓轉婉潤，與其較挺勁方折之用筆不同，當係12、13世紀間，燕文貴一系風格之衍流。"", ""燕文貴（活動於十世紀下半至十一世紀初），浙江吳興人。原為軍人，退伍後住在京師，被畫院待詔高益所發掘，進入畫院任職。他善畫山水、人物、舟車，繪山水常作高峰巨巖，其中的人物與樓觀細緻精巧，此類作品遂被稱為「燕家景」。 本幅畫溪流之畔，崇山峻嶺由近而遠層層堆高，山體的輪廓線濃重，以細小皴點填布石面，山巒錯落相疊，其間以飛瀑與蜿蜒山徑前後連結，營造畫面的空間深度。山頂灌木叢生，山谷中則有重樓、院落與行旅散列其間。屋宇和人物的比例雖小，描繪卻精細工整，一絲不苟，這正是「燕家景致」最典型的特色。 (馬孟晶)"", ""燕文貴（活動於十世紀後半－十一世紀前半），浙江吳興人，仁宗時畫院待詔。山水多作巨嶂高壁，人物、樓觀布置精巧，所作山水，細密清潤，富有變化，自成一家，人稱「燕家景致」。 本幅畫溪山飛瀑，層巖樓觀，高出雲端。右方石壁上，有小字款署「翰林待詔燕文貴筆」，以粗重抖動之線條畫出山形輪廓，再用近似雨點的皴法，層層描寫山石的質感與量感，山谷以淡墨擦染出空氣明晦之效果，筆法細密，皆能代表燕文貴風格之特色，然此幅用筆較圓轉婉潤，與其較挺勁方折之用筆不同，當係十二、三世紀間，燕文貴一系風格之衍流。(20061206)""], ""Description"": ""Yen Wen-kuei, a native of Wu-hsing in Chekiang, served as a Painter-in-Attendance in the Painting Academy under Emperor Jen-tsung. In landscape painting, he mostly rendered massive peaks and lofty cliffs, his arrangement of figures and buildings being quite skillful. His landscapes were pure and delicate with great variation. Forming a style of his own, it was called “Pleasing Scenery of the Yen Family”. This painting depicts cascading waterfalls among mountains by water with clusters of buildings tucked among the ridges piercing the mists below. On a cliff face to the right is a signature in small characters reading, “Brushed by the Hanlin Painter-in-Attendance Yen Wen-kuei”. Tremulous lines using coarse brushwork outline the mountain forms, and a layered texturing method similar to that of raindrops was used to render the volume and texture of the mountains. Valleys were done with washes of light ink to create the effect of brilliance in the air. These features and the fine brushwork all relate to the style of Yen Wen-kuei. However, the brushwork is more rounded and gentle, differing from Yen's bolder and more angular brushwork. The style here places it in the 12th or 13th century, representing the evolution of Yen Wen-kuei’s style.(20061206)"", ""網頁展示說明"": [""燕文貴（活動於十世紀後半－十一世紀前半），浙江吳興人，仁宗時畫院待詔。山水多作巨嶂高壁，樓觀布置精巧，山水細密清潤。本幅畫溪山飛瀑，層巖樓觀。左方石壁上款署「翰林待詔燕文貴筆」，以粗重抖動之線條畫出山形輪廓，山谷以淡墨擦染出空氣明晦之效果，筆法細密，皆能代表燕文貴風格特色，然用筆較圓轉婉潤，與其較挺勁方折用筆不同，當係十二、三世紀間，燕文貴風格之衍流。(20120103)"", ""Yan Wengui, native to Wuxing in Zhejiang, was a Painter-in-Attendance at the Painting Academy under Emperor Renzong. His landscapes for the most part feature huge peaks and lofty cliffs with buildings skillfully arranged, creating landscapes both delicate and pure.\r\nThis painting depicts peaks and streams with a cascade and buildings among layered crags. The stone face on the left bears a signature for \""Brushed by Hanlin Painter-in-Attendance Yan Wengui.\"" Coarse, trembling lines render the outlines of peaks, the valleys in light ink creating a bright atmosphere. The brushwork is also fine and dense, reflecting Yan Wengui's style. The brushwork, though, is rounded and graceful, differing from the strong, angular style of other works associated with him. From perhaps the 12th or 13th century, this painting derives from Yan's style. \r\n(20120103)"", ""燕文貴（10世紀後半-11世紀前半に活動）、浙江吳興の人、仁宗時代の畫院待詔。巨大な岩壁が高く聳える風景を多く描いた。建物は巧みに配され、細密に描かれた山水には清らかな潤いがある。本作には山々と渓流、水しぶきをあげて流れ落ちる瀑布、壯観な建物が描かれている。左側の岩壁に署款「翰林待詔燕文貴筆」がある。重厚な太い線で描かれた山の輪郭線にはふるえがある。山谷は淡墨を用いて空間の明暗を描き出しており、細密な筆法など、いずれも燕文貴の畫風の特色であるが、用筆にはやや丸みと柔らかさがあり、燕文貴の力強く角張った用筆とは異なっている。12、13世紀に描かれた、燕文貴の流れを汲む作品である。(20120103)""], ""參考書目"": [""童文娥，〈宋燕文貴溪山樓觀　軸〉，收入劉芳如主編《遺珠-大阪市立美術館珍藏書畫》（臺北：國立故宮博物院，2021.08），頁54-57、263-264。"", ""1.陳韻如，〈宋燕文貴溪山樓觀　軸〉，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246-251。\r\n2.馬孟晶，〈「天子之寶 — 台北國立故宮博物院的收藏」展品系���(四) — 繪畫〉，《故宮文物月刊》，第247期（2003年10月），頁20。\r\n3.小川裕充，〈從燕文貴作品中的透視遠近法看中國山水畫透視遠近法之成立〉，《故宮學術季刊》，第二十三卷第一期（2005年秋），頁241-266。""], ""收藏著錄"": [""石渠寶笈續編（寧壽宮），第五冊，頁2673"", ""故宮書畫錄（卷五），第三冊，頁45"", ""故宮書畫圖錄，第一冊，頁179-180""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000043N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000043N000000000')""}]}"
-1300,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1300?dep=P&mode=full,宋燕文貴秋山琳宇圖　軸,"{""文物統一編號"": ""故畫000044N000000000"", ""作品號"": ""故畫00004400000"", ""品名"": ""宋燕文貴秋山琳宇圖　軸\nDaoist Monastery in Autumn Mountains"", ""分類"": ""繪畫"", ""作者"": ""燕文貴"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""165.5x58.4""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""燕文貴"", ""位置"": ""本幅"", ""款識"": ""臣燕文貴恭畫"", ""書體"": ""楷書"", ""全文"": ""臣燕文貴恭畫""}, {""題跋類別"": ""題跋"", ""作者"": ""郭畀\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""金城郭天錫題"", ""書體"": ""楷書"", ""全文"": ""梵王殿閣建何年。古樹嵯岈（當作杈枒）勢極天。愛向深崖觀落葉。喜從幽壑聽鳴泉。松聲滿耳頻高下。雲氣無心任去旋。一派秋光山色好。人生居此勝神僊。金城郭畀天錫題。"", ""印記資料"": [{""印主"": ""郭畀"", ""印記"": ""快雪齋""}, {""印主"": ""郭畀"", ""印記"": ""郭畀""}, {""印主"": ""郭畀"", ""印記"": ""金城郭氏""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""大明安楚昭勇將軍李氏珍玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""宣和""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""宣和之寶""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""壽春堂藏""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""藍田主人寶玩珍記""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""雙龍璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""秋景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": [""燕文貴(約西元十一世紀)，浙江吳興人。少時曾流落京師(河南開封)為商販，後來才華被畫院待詔高益所賞識，得以進入畫院任祇候之職。山水、人物均佳，尤善於描繪四季景物，清雅可愛。畫院中人稱其畫為「燕家景」。本幅寫山峰林立，山谷中煙嵐留滯，似欲描寫山雨初收。澗壑奔流直瀉，小路迴曲，延向山中樓閣，景境幽靜清雅。雖款繫燕文���，惟畫風較近似晚明。"", ""本幅寫山峰林立，山谷中煙嵐留滯，似欲描寫山雨初收。澗壑奔流直瀉，小路迴曲，延向山中樓閣，景境幽靜清雅。本幅雖款繫燕文貴，惟畫風較近似晚明。燕文貴(約西元十一世紀)，浙江吳興人。少時曾流落京師(河南開封)為商販，後來才華被畫院待詔高益所賞識，得以進入畫院任祇候之職。山水、人物均佳，尤善於描繪四季景物，清雅可愛。畫院中人稱其畫為「燕家景」。(20100710)""], ""Description"": [""This work depicts many serried peaks with mists trailing the valleys between, like a scene shortly after rain. Torrents rush down the ravines as a path winds up to the buildings among the peaks, creating a serene and elegant setting. Though bearing a Yan Wengui signature, the style is actually closer to the late Ming (1368-1644). As a destitute youth, Yan Wengui (from Wuxing, Zhejiang) went to the capital (Kaifeng, Henan) to sell goods. His talent in art was recognized by the court painter Gao Yi, who recommended him. Yan thus served in the Painting Academy. A master of landscape and figures, Yan was gifted at scenes of the four seasons in a pure manner appreciated by many. In the Painting Academy, they were called “Yan Master Scenes.”(20100710)"", ""Yen Wen-Kuei was a native of Wu-hsing, Chekiang. When he was young, he went to the capital, K'aifeng, where he was a merchant. Later, he became a talented artist and received the favor of Kao I, a Painter-in-Attendance in the Painting Academy.Through Kao I, he entered the Painting Academy as an Attendant.He was a master of landscape and figure painting.He was particulary accomplished in painting landscapes of the four seasons. We may especially admire his delicate and charming style. In the Painting Academy, his paintings were called \""Landscapes in Master Yen's style.\"" This scroll depicts serried peaks; the autumn skies are beginning to clear but the mist has not yet dispersed, giving a clear impression of an autumnal atmospere. Through the mist a tumbling stream can be seen. A small path leads to a Taoist monastery in the mountains. Although this painting bears Yen Wen-kuei's signature, it is much closer in style to paintings of the Ming dynasty.""], ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1385"", ""故宮書畫錄（卷五），第三冊，頁45-46"", ""故宮書畫圖錄，第一冊，頁181-182""], ""參考書目"": ""1.何傳馨，〈(原題宋燕文貴)秋山琳宇圖〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁241。\r\n2.本社，〈宋燕文貴秋山琳宇〉，《故宮文物月刊》，第14期（1984年5月），封底裡。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000044N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000044N000000000')""}]}"
-1277,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1277?dep=P&mode=full,宋許道寧關山密雪圖　軸,"{""文物統一編號"": ""故畫000047N000000000"", ""作品號"": ""故畫00004700000"", ""品名"": ""宋許道寧關山密雪圖　軸\nHeavy Snow on a Mountain Pass"", ""分類"": ""繪畫"", ""作者"": ""許道寧"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""121.3x81.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""許道寧"", ""位置"": ""本幅"", ""款識"": ""許道寧學李咸熙關山密雪圖"", ""書體"": """", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""卞令之鑒定""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""令之""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""仙客""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""式古堂""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""式古堂書畫""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""式古堂書畫印""}, {""印記類別"": ""收傳印記"", ""印主"": ""沈周"", ""印記"": ""沈周寶玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""金章宗"", ""印記"": ""明昌御覽""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""政和""}, {""印記類別"": ""收傳印記"", ""印主"": ""沈周"", ""印記"": ""啟南""}, {""印記類別"": ""收傳印記"", ""印主"": ""華雲"", ""印記"": ""華補菴氏""}, {""印記類別"": ""收傳印記"", ""印主"": ""劉炳圖"", ""印記"": ""劉炳圖印""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""樵夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""山徑"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""許道寧(約西元十一世紀)，北宋河間人。初市藥於都門，畫山水以聚觀者，習氣頗深。中年盡變舊學，行筆簡易，林木硬勁，自成一家。舊說許道寧初賣藥於長安，市人有購藥者，必畫樹石兼與之。後游華山，見其峰巒崷崒，始有意於山水，中年成名，稍自檢束，行筆簡易，風度益著云。"", ""Description"": ""Hsu Tao-ning was a native of Ho-chien, Hopei. He originally sold herbal medicines at the capital gate, painting landscapes to attract customers. At that time, his works were relatively vulgar. During his middle years, he devoted himself to painting, and his style became simpler and more refined. It is said that during his early years as a peddler in Ch'ang-an, Hsu Tao-ning used to paint trees and rocks for his customers. Later, he journeyed to Hua Mountain and seeing its majestic peak towering above him, he was inspired to paint landscapes. After achieving fame in his middle years, he was careful to produce works of only the finest quality."", ""收藏著錄"": [""石渠寶笈初編（御書房），下冊，頁1138"", ""故宮書畫錄（卷五），第三冊，頁47"", ""故宮書畫圖錄，第一冊，頁187-188""], ""參考書目"": ""1.何傳馨，〈(原題宋許道寧)關山密雪圖〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁260-261。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000047N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000047N000000000')""}]}"
-1227,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1227?dep=P&mode=full,宋趙昌歲朝圖　軸,"{""文物統一編號"": ""故畫000049N000000000"", ""作品號"": ""故畫00004900000"", ""品名"": ""宋趙昌歲朝圖　軸\nNew Year’s Day"", ""分類"": ""繪畫"", ""作者"": ""趙昌,Zhao Chang"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""103.8x51.2""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""30.9x51.6""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""趙昌"", ""位置"": ""本幅"", ""款識"": ""臣昌（重一）"", ""書體"": """", ""全文"": """"}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""丙申歲朝。御筆。"", ""書體"": ""行書"", ""全文"": ""滿幅輕綃薈眾芳。歲朝首祚報韶光。硃紅石綠出畫院。寫態傳情惟趙昌。祇以麗稱弗論格。稡於多處若聞香。宣和好畫非真好。跡涉竽吹熱鬧場。江少虞謂趙昌畫若染成。不為采���所隱。是幀寫生工妙。信非昌不能辦。第玩其結構。下截布置分明。水仙已居其半。而湖石以上僅五寸許。花朵繁密。略無餘地。枝幹俱未能展拓盡勢。名人章法。殊不如此。蓋畫幅本大。或有破損處。為庸賈割去。別署偽款。所存已非全壁。然昌畫不多覯。吉光片羽。亦自可珍。既題以什。並識所見如右。丙申(西元一七七六年)歲朝。御筆。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""子京（瓢印）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""天目山房圖書之記""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項叔子""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項墨林秘笈之印""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""節令與二十四節氣"", ""主題(第二層)"": ""年節"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""水仙"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""牡丹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""茶花"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}]","{""內容簡介"": ""趙昌（約十世紀末至十一世紀初），四川成都人。字昌之。善畫花卉，每晨朝露下，時遶欄諦觀，手中調彩色寫之，自號寫生，作品傳世甚少。 宋郭若虛「圖畫見聞誌」，有鋪殿花一條謂：「江南徐熙輩，於縑素上畫叢豔疊石，傍出藥苗，雜以禽鳥蜂蟬之妙，供宮中挂設。又有裝堂花，意在位置端莊，駢羅整肅，多不取生意自然之態。」蓋略同於今之圖案畫，本幅構景命意，或此一派之流衍。"", ""Description"": ""Chao Ch'ang (style name Ch'ang-chih) was a native of Ch'eng-tu, Szechuan. A skilled painter of flowers, he got up early every morning, went to the balustrade, and carefully looked at the plants. Using his colors, Chao depicted what he saw and thus later adopted the sobriquet Hsieh-sheng (“Sketching from Life”). Unfortunately, his surviving works are extremely rare today. In Kuo Jo-hsu's Record of Experiences in Painting (1074), he included a section entitled “Arranging Flowers in the Palace Halls” in which he stated, “On fine silk to be hung in the palace, artists like Hsu Hsi of Kiangnan painted masses of flowers and layers of stones with herbs and sprouts next to them, as well as an assortment of birds and insects.” The paintings in another section, “Making Flowers for the Hall,” were meant to have dignified and balanced compositions, but lacked liveliness and naturalness. They were thus similar in spirit to decorative paintings still being produced today. This might have been the intent behind the composition of this work, suggesting the prevelance of this type of painting through the ages."", ""網頁展示說明"": [""趙昌（10-11世紀間），字昌之，四川成都人。善畫花卉，每於清晨朝露下，對景描摹，故自號寫生。\r\n郭若虛〈圖畫見聞誌〉有「鋪殿花」一條，謂徐熙於縑素上描繪花卉奇石，摻以鳥���，專供宮廷掛設之用，又名「裝堂花」。此類作品佈置多較工整繁密，不刻意表現自然生態。〈歳朝圖〉的構景命意，不無侔合處，或即徐熙「鋪殿花」的傳派。本幅雖有「臣昌」二字款，但以筆墨畫風論，應是宋以後畫家的託名之作。(20110102)"", ""Zhao Chang (style name Changzhi) was a native of Chengdu in Sichuan. Excelling at painting flowers, he went out every morning in the dew to capture the scenery, using a method he called \""sketching from life.\""\r\nIn Guo Ruoxu's Record of Experiences in Painting is a section that mentions \""palace-filling flowers.\"" It was a kind of hanging scroll format specially designed for the court, in which Xu Xi (fl. 9th-10th c.) depicted flowers and exotic rocks on fine silk combined with birds and insects. Also known as \""hall-decorating flowers,\"" this kind of work features an arrangement of many motifs in a fine yet complex composition that intentionally does not seek to express scenery as it appears in nature. The choice of the title and composition for \""Picture of the New Year\"" here is not without reason, for it is still in the tradition of Xu Xi's \""palace-filling flowers.\"" Although two characters for the signature \""Servitor Chang\"" appear here, the brushwork and painting style suggest the work of a post-Song dynasty (960-1279) painter. (20110102)"", ""趙昌（10-11世紀の間）、字は昌之、四川成都の人。花卉畫を善くし、毎朝、朝露も乾かぬ早朝に写生をしたので、自ら写生と號した。\r\n郭若虛『図畫見聞誌』に「鋪殿花」という項目がある。それによると徐熙は、縑素（書畫に用いる絹布）に鳥類や昆虫も添えて花卉や奇石を描き、宮廷の裝飾用にのみ供用したといい、これらの作品を「裝堂花」とも稱した。この種の作品は、きっちりと整った構図にびっしりと描き込まれたものが多く、自然の生態を表現しようとしたものではない。「歳朝図」の構図や主題はそれに合致する部分があり、徐熙の「鋪殿花」の流れを汲む流派であろう。本作には「臣昌」二文字の款があるが、筆致や畫風から見るに、宋代以降の畫家が趙昌の名で描いた作と思われる。 (20110102)""], ""收藏著錄"": [""石渠寶笈續編（御書房），第四冊，頁1917"", ""故宮書畫錄（卷五），第三冊，頁48-49"", ""故宮書畫圖錄，第一冊，頁199-200""], ""研究性論著"": ""「歲朝圖」上雖有趙昌的名款「臣昌」二字，但以筆墨畫風及苔石坡草等的畫法而論，則不似宋代風格（註1）。詩塘上乾隆皇帝題曰：「蓋畫幅本大，或有破損處，為庸賈割去，別署偽款，所存已非全璧。」而從畫幅邊緣裁切的不甚自然來看，當有此可能性。（註2）\r\n幅中梅花、山茶、水仙和長春花，以硃砂、白粉、胭脂、石綠畫成，再用石青填底，色彩明麗，顯得富麗堂皇。其構圖特殊，由湖石和繁密交錯的花朵，佈滿整個畫面，絲毫不留空地，整齊嚴肅，極具裝飾的效果。在宋郭若虛的《圖畫見聞誌》中提及，南唐宮廷中有被稱為「鋪殿花」的繪畫作品，為宮院掛設之用，必需位置端莊，駢羅整肅，多不取生意自然之態（註3），而此幅作品的構圖命意正與之相吻合，可作為此一風格延續的代表。\r\n趙昌（約10世紀末至11世紀初），字昌之，四川成都人。善畫花果，常於清晨朝露下，遶欄觀賞花卉，並即時描繪之，因自號「寫生趙昌」。然傳世的作品甚少，故已難於確認其繪畫風貌。（譚怡令）\r\n註1：Flowers  of  the  New Year's Day. Plum blossoms, camelias, narcissus, andothers  by\t a rockery. Twospurious signatures. Ming decorative work; see James  Cahill, An Index of\tEarly Chinese Painters －T'ang, Sung, and Yuan (Berkeley & Los Angeles: University of California Press, 1980), p.60.\r\n註2：國立故宮博物院編，《故宮名畫三百種》（臺北：國立故宮博物院，1959），第二冊，頁54。\r\n註3：「鋪殿花」：「江南徐熙輩，有於雙縑幅素上畫叢艷疊石，傍出藥苗，雜以禽鳥蜂蟬之妙，乃是供李主宮中挂設之具，謂之鋪殿花。次曰裝堂花，意在位置端莊，駢羅整肅，多不取生意自然之態，故觀者往往不甚采鑒。」郭若虛，《圖畫見聞誌》卷六，收錄於《畫史叢書》（臺北：文史哲出版社，1974），第一冊，頁238。"", ""參考書目"": ""1.〈宋趙昌歲朝圖〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁215。\r\n2.劉芳如，〈宋趙昌歲朝圖〉，收入國立故宮博物院編輯委員會編，《畫梅名品特展》（臺北：國立故宮博物院，1991年元月初版），頁79。\r\n3.劉芳如，〈中國古畫裡的草蟲世界 — 「草蟲天地」特展��紹（上）〉，《故宮文物月刊》，第220期（2001年7月），頁7。\r\n4.〈宋趙昌歲朝圖　軸〉，收入譚怡令、劉芳如、林莉娜主編，《滿庭芳-歷代花卉名品特展》（臺北：國立故宮博物院，2010年十二月初版一刷），頁174-175。 \r\n5.陳昱全，〈傳趙昌〈歲朝圖〉與「舖殿花」〉，《故宮文物月刊》，第337期（2011年4月），頁48-57。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000049N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000049N000000000')""}]}"
-13945,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13945?dep=P&mode=full,宋趙昌四喜圖　軸,"{""文物統一編號"": ""故畫000050N000000000"", ""作品號"": ""故畫00005000000"", ""品名"": ""宋趙昌四喜圖　軸"", ""分類"": ""繪畫"", ""作者"": ""趙昌"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""122.8x60.4""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""董其昌\n印記\nexpand_more"", ""位置"": ""邊幅"", ""款識"": ""其昌"", ""書體"": ""行書"", ""全文"": ""北宋趙昌之精於花鳥。其秀潤不減王晉卿。而易慶之輩。皆奉為典型者也。此幅尤屬神品。余得之金臺旅邸。重加裝潢。以垂不朽。其昌。"", ""印記資料"": [{""印主"": ""董其昌"", ""印記"": ""董玄宰""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（左上角二印。漫漶不可辨。）""}, {""印記類別"": ""收傳印記"", ""印主"": ""文徵明"", ""印記"": ""玉蘭堂圖書記""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑑藏寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": """", ""主題說明"": ""相思鳥""}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""桑鳲"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""喜鵲"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""畫眉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": ""畫幅上描繪喜鵲、桑鳲、畫眉、相思鳥，在梅竹、山茶與坡石間穿梭跳躍。就繪畫內容來看，此乃歲朝祥瑞之作。畫梅竹及坡石之技法，與邊文進「三友百禽」、「花鳥」中之景物，甚為相似。尤其是畫梅與坡石部分。 本幅無作者名款，左邊幅有董其昌跋，謂為趙昌之作。但細審此跋，不似董其昌真蹟。依畫風論，可能是傳承邊文進風格之明宮廷畫家作品。"", ""Description"": ""In this painting, magpies, grosbeaks, a hwa-mei, and a red-billed Leiothrix perch and jump among plum branches, bamboo, and camellias on a rocky slope. This type of subject matter was often chosen to indicate the auspicious beginning of the new year. The handling of the bamboo and especially the plum blossoms and rocks is very similar to Pien Wen-chin's brush techniques in both The Three Friends and One Hundred Birds and Birds and Flowers. This painting bears neither the signature nor seals of the artist. Tung Ch'i-ch'ang (1555- 1636) wrote in an inscription on the mounting that this painting is by Chao Ch'ang. However, this inscription is suspect and may very well be spurious. According to the style, this work was perhaps painted by a Ming dynasty court artist imitating the style of Pien Wen-chin."", ""收藏著錄"": [""石渠寶笈初編（養心殿），上冊，頁658"", ""故宮書畫錄（卷五），第三冊，頁50"", ""故宮書畫圖錄，第一冊��頁201-202""], ""參考書目"": ""1.譚怡令，〈宋趙昌四喜圖〉，收入譚怡令編，《呂紀花鳥畫特展》（臺北：國立故宮博物院，1995年初版），頁100。\r\n2.〈傳宋趙昌四喜圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁171。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000050N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000050N000000000')""}]}"
-13946,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13946?dep=P&mode=full,宋燕肅寒巖積雪　軸,"{""文物統一編號"": ""故畫000052N000000000"", ""作品號"": ""故畫00005200000"", ""品名"": ""宋燕肅寒巖積雪　軸"", ""分類"": ""繪畫"", ""作者"": ""燕肅"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""136.3x64""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""29.2x64.2""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}, {""質地位置"": ""詩塘"", ""質地"": ""紙""}]","[{""題跋類別"": ""題跋"", ""作者"": """", ""位置"": ""詩塘"", ""款識"": """", ""書體"": ""行楷書"", ""全文"": ""宋燕穆之寒巖積雪圖。齊郡周公謹密慧眼精鑒。載之雲煙過眼錄中。此灼然無疑。宣德庚戌重九亭午。有客以見示。余傾囊購取之。越三日始克窮其妙趣。命工裝裱藏之。""}, {""題跋類別"": ""題跋"", ""作者"": ""李日華"", ""位置"": ""詩塘"", ""款識"": ""李日華記"", ""書體"": ""行楷書"", ""全文"": ""燕尚書寒巖積雪圖。匹紙所畫。其長四尺。筆墨皆佳。精彩煥發。神物也。舊藏姚文毅公家。公沒。雲東逸史屢遣人物色之。不可復得。後流傳數家。皆不賞識。萬曆丁未人日。過墨林子高齋。忽有持示者。余展玩驚歎。恍然若失者累日。昔見石田先生臨本。今復見廬山真面目矣。李日華記。""}, {""題跋類別"": ""題籤"", ""作者"": """", ""位置"": ""詩塘"", ""款識"": """", ""書體"": ""楷書"", ""全文"": ""宋燕穆之寒巖積雪圖。檇李姚氏家藏。""}]","[{""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""六藝之圃""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""天籟閣""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""太符真賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""李芳"", ""印記"": ""李繼泉真賞章""}, {""印記類別"": ""收傳印記"", ""印主"": ""李芳"", ""印記"": ""長水李氏珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""退密""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""淨因菴主""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項子京家珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項墨林父秘笈之印""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項墨林鑑賞章""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": ""雪景""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""篷舟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": ""凳""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(減筆)"", ""技法細目"": """"}, {""技法"": ""苔點"", ""技法細目"": """"}, {""技法"": ""寫意"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1387"", ""故宮書畫錄（卷五），第三冊，頁51-52"", ""故宮書畫圖錄，第一冊，頁209-210"", ""燕肅（西元九九一—一O四O年），青州益都（今山東益都）人。字穆之，一字仲穆。北宋真宗朝第進士，歷官至龍圖閣直學士，以禮部尚書致仕，故人稱燕龍圖。文學治行，縉紳推之，尤喜畫山水寒林。 雪巖寒江，村屋數間，一人持杖行於孤橋。全幅皴筆甚少，以水墨遍染江天，頗得蕭瑟寒冷之意。本幅無作者款印，幅上姚氏籤題標為「宋燕穆之寒巖積雪圖」。"", ""Yen Su (style names Mu-chih and Chung-mu) was a native of Yi-tu, Ch'ing-chou (modern Yi-tu, Shantung). He obtained the chin-shih degree during the reign of the emperor Chen-tsung (r. 998-1023). In his career as an official, he reached the position of Academician of the Dragon Diagram Hall and retired as Minister of Rites. Later generations thus called him, \""Yen of the Dragon Diagram Hall.\"" Yen's literary accomplishments were praised by his fellow gentry. He was especially fond of painting landscapes and wintry forests. A few village houses are scattered along a wintry river and amidst snowy cliffs in this painting. A figure holding a staff walks alone on a bridge. The painting has been executed with few texture strokes, using ink wash to depict the river and sky. The painter has captured a chilly and desolate feeling. Although there is no seal on the work, a label by a Mr. Yao calls it \""Cliffs Blanketed in Snow by Yen Su of the Sung Dynasty.\""""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000052N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000052N000000000')""}]}"
-1276,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1276?dep=P&mode=full,宋趙昌畫牡丹　軸,"{""文物統一編號"": ""故畫000051N000000000"", ""作品號"": ""故畫00005100000"", ""品名"": ""宋趙昌畫牡丹　軸\nPeonies"", ""分類"": ""繪畫"", ""作者"": ""趙昌"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""143.5x59.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""趙昌\n印記\nexpand_more"", ""位置"": """", ""款識"": ""趙昌"", ""書體"": ""篆書"", ""全文"": ""趙昌"", ""印記資料"": [{""印主"": ""趙昌"", ""印記"": ""趙昌""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（二印漫漶不可識 ）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""大方制□""}, {""印記類別"": ""收傳印記"", ""印主"": ""管道昇"", ""印記"": ""仲姬""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""宋墨（葫蘆式）""}, {""印記類別"": ""收傳印記"", ""印主"": ""趙孟頫"", ""印記"": ""松雪齋圖書印""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項墨林珍賞印""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""寶晉齋""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""牡丹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""鳶尾"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""蘭．蕙"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""靈芝"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": ""趙昌(約西元十世紀末)，字昌之，四川廣漢人。擅作折枝花卉與蔬果，自號「寫生趙昌」。他很珍惜自己的畫，從不輕易給人，晚年甚至還把流落在別人手中的作品收購回來，所以很少有他的作品留傳下來。本幅舊傳為趙昌之作。湖石下有鳶尾、蘭草、靈芝，石後則有牡丹盛開佈滿了畫面。絹雖黃舊，仍有艷麗之感。湖石右側有「趙昌」款印，疑為後人偽款。"", ""Description"": ""Chao Ch'ang, style name Ch'ang-chih, was a native of Kuang-han in Szechwan province. He excelled at painting flowers, vegetables, and fruit, and he was particularly adept at drawing from life. He called himself \""Chao Ch'ang, painter true to life.\"" He cherished his own paintings and never easily gave them to others. Later in his life, he even went so far as to buy back some of his paintings that had fallen into the hands of private collectors. Because of this practice, there are very few of his works extant. At the foot of the T'ai-hu rock are irises, orchids, and fungus. Behind the rock, peonies in full bloom fill up the entire painting. Despite the darkness of the ancient silk of the painting, the brush work and coloring are still exquisite. On the right side of the T'ai-hu rock is the seal of Chao Ch'ang which is probably a later addition."", ""收藏著錄"": [""石渠寶笈三編（乾清宮），第一冊，頁484"", ""故宮書畫錄（卷五），第三冊，頁50-51""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000051N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000051N000000000')""}]}"
-1280,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1280?dep=P&mode=full,宋郭熙關山春雪圖　軸,"{""文物統一編號"": ""故畫000055N000000000"", ""作品號"": ""故畫00005500000"", ""品名"": ""宋郭熙關山春雪圖　軸\nSpring Snow on a Mountain Pass"", ""分類"": ""繪畫"", ""作者"": ""郭熙,Guo Xi"", ""創作時間"": ""宋神宗熙寧八年（1072）"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""179.1x51.2""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""郭熙"", ""位置"": ""本幅"", ""款識"": ""熙寧壬子（西元一○七二年）二月。奉王旨畫關山春雪之圖。臣熙進。"", ""書體"": ""隸書"", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""一印不可辨""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""御書（半印）""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": ""春雪""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""水利"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""柏"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""郭熙(約一０二０-一０九０前後)，河南溫縣人，字淳夫，神宗朝御畫院藝學。工畫山水，師法李成，而能自放胸臆。另創影壁山水一種，即後世塑壁山水。又精繪畫理論，著有「林泉高致」一書，專論山水畫。郭熙山水深得李成真傳，小變其法，蟹爪樹枝與雲頭皴法是其特色。此幅林木寒肅，山頭峻厚，情景極佳。"", ""Description"": ""Kuo Hsi (style name; Shun-fu) came from Wen-hsien, Honan. He joined the Painting Academy in 1068 by command of the Emperor Shen-tsung. He was an excellent Painter of landscapes. Though he modelled his works on those of Li Ch'eng (916-967), his paintings express his own ideas and feelings. He founded the ying-pi style of landscape wall painting in which shadows on an irregular surface guide the painter. He was also the author of an important treatise on landscape painting, the Lin-ch'uan Kao-chih. Kuo Hsi's paintings are very close in style to those of Li Ch'eng. The special characteristics of his paintings were the use of crab-claw strokes to depict branches of trees and his texture strokes for clouds. This painting shows a bitterly cold forest set among soaring peaks. It is a masterpiece of the landscape genre."", ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1393"", ""故宮書畫錄（卷五），第三冊，頁53-54"", ""故宮書畫圖錄，第一冊，頁215-216""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000055N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000055N000000000')""}]}"
-976,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/976?dep=P&mode=full,宋郭熙秋山行旅圖　軸,"{""文物統一編號"": ""故畫000056N000000000"", ""作品號"": ""故畫00005600000"", ""品名"": ""宋郭熙秋山行旅圖　軸\nTravelers in Autumn Mountains"", ""分類"": ""繪畫"", ""作者"": ""郭熙,Guo Xi"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""119.6x61.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""郭熙"", ""位置"": ""本幅（左方下角石隙）"", ""款識"": ""郭熙"", ""書體"": ""行書"", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""石岡家藏神品""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""希甫""}, {""印記類別"": ""收傳印記"", ""印主"": ""沐璘"", ""印記"": ""黔寧定遠二王後裔""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""秋景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主��類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""籬笆、圍牆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": """", ""主題說明"": ""渡船""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""崗嶺起伏，江水逶迤，古寺、村舍錯落其間，行旅騎驢對話，童僕荷擔隨行。部分樹木業已凋零，秋意已濃。左下石隙間款署「郭熙」。雖然本幅挺勁巨松的姿態、以蟹爪筆所畫的枯枝等，皆與郭熙（活動於11世紀後半）的名蹟〈早春圖〉氣息相通，可是卻不見〈早春圖〉所呈現主山堂堂的雄偉氣勢、可游可居的山水意境；且此畫之構圖布局、用筆用墨更與之相去甚遠，當為後人偽託郭熙之作。(20110913)"", ""Description"": ""Hills rise and fall as a river winds its way through scenery dotted with temple and village buildings. Travelers ride and converse on donkeys with attendants behind carrying their load. Some of the trees have already withered, a sense of autumn pervasive throughout. At a crevice in the lower left is a signature for “Guo Xi.” Despite the powerful and erect pose of the tall pines and the “crab-claw” texture strokes for the branches in this painting all being linked to the spirit of those in Guo Xi’s renowned “Early Spring,” the majestic and imposingly monumental manner of “Early Spring” is not found here, nor is the ability to travel and reside vicariously about the landscape scenery. Furthermore, the compositional arrangement as well as the use of brush and ink in this work are comparatively quite distant from his masterpiece, suggesting this work was done by a later painter with Guo Xi’s name added to it.(20110913)"", ""參考書目"": ""劉芳如、浦莉安、陳韻如，〈宋郭熙秋山行旅圖　軸〉，收入《鎮院國寶-范寬●郭熙●李唐》（臺北：國立故宮博物院，2021.10），頁150-151。"", ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁54"", ""故宮書畫圖錄，第一冊，頁221-222""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000056N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000056N000000000')""}]}"
-13947,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13947?dep=P&mode=full,宋郭熙雪山行旅圖　軸,"{""文物統一編號"": ""故畫000057N000000000"", ""作品號"": ""故畫00005700000"", ""品名"": ""宋郭熙雪山行旅圖　軸"", ""分類"": ""繪畫"", ""作者"": ""郭熙"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""139.9x67.5""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""33.8x67.5""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""乾隆壬戌（西元一七四二年）仲秋御題。"", ""書體"": ""行書"", ""全文"": ""天娥快剪剪薄紈。瓊華一夜纈萬巒。臨風玉樹枝簇攅。大地變作銀界觀。凍峽千尺白龍蟠。濺壁大小皆珠丸。㟏岈嶻嶪那可攀。剰有羊腸路屈盤。誰歟馬背凌兢寒。羸僕皸瘃尤堪憐。溪橋滑刺手足攣。冷風吹揭墊角冠。名利子也何足歎。谷迴路轉茆屋連。茆屋有客疑袁安。披卷笑傲忘朝餐。嚴威栗烈不可干。河陽此法摹范寛。當前勞逸憑君看。乾隆壬戌（西元一七四二年）仲秋御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""惟精惟一""}, {""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}, {""印主"": ""清高宗"", ""印記"": ""奉三無私""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""都尉耿信公書畫之章""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""百姓"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""馬"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傘"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""籃．簍．籮筐"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1392"", ""故宮書畫錄（卷五），第三冊，頁54-55"", ""故宮書畫圖錄，第一冊，頁223-224""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000057N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000057N000000000')""}]}"
-47,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/47?dep=P&mode=full,宋郭熙早春圖　軸,"{""文物統一編號"": ""故畫000053N000000000"", ""作品號"": ""故畫00005300000"", ""品名"": ""宋郭熙早春圖　軸\nEarly Spring"", ""分類"": ""繪畫"", ""作者"": ""郭熙,Guo Xi"", ""書體"": ""楷書"", ""創作時間"": ""宋神宗熙寧五年（1072）"", ""數量"": ""一軸"", ""釋文"": ""早春壬子年郭熙畫。""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""158.3x108.1""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""郭熙\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""壬子年（西元一○七二年）郭熙畫"", ""書體"": """", ""全文"": """", ""印記資料"": [{""印主"": ""郭熙"", ""印記"": ""郭熙筆""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""樹纔發葉溪開凍，樓閣仙居最上層；不藉柳桃閒點綴，春山早見氣如蒸。乾隆己卯（西元1759年）御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}, {""印主"": ""清高宗"", ""印記"": ""內府書畫""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""索額圖"", ""印記"": ""九如清玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""索額圖"", ""印記"": ""也園珍賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""丹誠""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""公""}, {""印記類別"": ""收傳印記"", ""印主"": ""明內府印"", ""印記"": ""司印（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""王世貞"", ""印記"": ""仲雅""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""宜爾子孫""}, {""印記類別"": ""收傳印記"", ""印主"": ""金章宗"", ""印記"": ""明昌御覽""}, {""印記類別"": ""收傳印記"", ""印主"": ""阿爾喜普"", ""印記"": ""東平""}, {""印記類別"": ""收傳印記"", ""印主"": ""阿爾喜普"", ""印記"": ""阿爾喜普之印""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""信公珍賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""珍秘""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""真賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""索額圖"", ""印記"": ""御賜忠孝堂長白山索氏珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""都尉耿信公書畫之章""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""琴書堂""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""善卿""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""肅齋""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""道濟書府""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠繼鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑑藏寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""春景"", ""主題說明"": ""早春""}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""百姓"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""孩童"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""山徑"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""篷舟"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": ""卷雲皴""}]","{""內容簡介"": [""郭熙（西元一０二三－約一０八五年），河南溫縣人。畫幅左側中間有一行小字隸書款：「早春。壬子年郭熙畫」，知此畫作於一０七二年。「早春」是「谿山行旅」之後，北宋山水另一里程碑。范寬呈現出大自然莊嚴與永恆的特質，郭熙則捕捉山水在一年四季中不同的風貌和煙雲變幻的氣氛，他畫山石多用「雲頭皴」，林木則以「蟹爪枝」見長。全幅煙嵐浮動，暗示宇宙間無窮的生機。"", ""畫面左側河谷上方款書「早春壬子年（1072）郭熙畫」，上鈐「郭熙筆」一印。郭熙，河陽溫縣人，活動於宋神宗朝（1067－1084），曾為朝廷官署內廷作畫，享年八十餘歲。 \r\n本幅為郭熙傳世的重要代表作，成功地於巨大山水構圖中展現春景生機。順著畫面中央軸線，蜿蜒布列的岩塊、巨松、主山、遠峰，連成充滿能量的山體動勢。其中運筆用墨更見巧思，細膩描繪畫中的人物活動，營造出得以居游的景致。\r\n(20110913)"", ""作於一○七二年的〈早春圖〉，不僅是郭熙傳世的代表作，也是山水畫史中最重要的里程碑。郭熙在宋神宗時進入宮廷服務，正當王安石變法之際，官府殿閣的新建布置中，都使用了郭熙的山水。此作可能原來也是其中之一。 畫中構圖有著對稱性的安排，但在秩序感中又充滿著韻律的變化。而藉著墨色深淺所營造出來的光影效果，更為此山水增添了空間的奇幻。舟樵行旅等活動的加入，也進一步將此意境轉化成一個生機處處，可遊可居的神奇所在。這些表現都可以從他的《林泉高致》書中，得到理論上的印證。(20061206)""], ""Description"": [""Done in 1072, this is not only the finest representative work of the master Kuo Hsi, it is also one of the most important surviving milestones in the history of Chinese landscape painting. Under Emperor Shen-tsung, Kuo Hsi entered service at court, and during the government reforms of Grand Councilor Wang An-shih, his landscapes were used to furnish new government offices and halls. This painting may very well have been one of these works. The composition here is arranged in a symmetrical manner, but the sense of order still reveals variations full of rhythm and movement. In addition, the effect of light and dark achieved through the use of graded washes of ink also add considerably to the illusory effect of space in this landscape. The inclusion of such activities as boating, gathering firewood, and traveling takes the painting further in transforming this artistic vision into one full of life, a mystical realm where the viewer can travel and live. These forms of expression can also be found in Kuo Hsi’s notes on painting recorded in Lofty Ambitions Among Forests and Streams, making this work evidence of his theories.(20061206)"", ""Along the left side of the painting is a signature that reads, “‘Early Spring’ painted by Guo Xi in the ‘renzi’ year (1072).” It also bears a seal for “Brushed by Guo Xi.” A native of Wenxian in Heyang, Guo Xi was active under Emperor Shenzong (r. 1067-1084) and did paintings for the court, living beyond the age of 80.\r\n\tThis is an important representative work surviving from the hand of Guo Xi, successfully expressing the vitality of a spring scene by means of a monumental landscape composition. Following the central axis of the painting, an array of rocky features, large pines, the main mountain, and distant peaks wind back and forth, connecting to create a dynamic mountain form filled with energy. The use of brush and ink here is even more skillful, the activities of figures in the painting done with delicacy to construct a fine scene where one can live and travel vicariously.\r\n(20110913)"", ""\""Early Spring\"" is here conceived of as a mist and forestfilled mountain. The brushwork registers infinite variations of pressure and ink: the silhouette of the rocks and boulders are delineated with a heavy touch, the fog-washed trees with a light one. The washed work in harmony to express a complete idea of nature's forms under these seasonal conditions - with the tree-tops disappearing perceptibly into the vapor, their trunks still vigorously etched in darker ink. Such virtuosity, subtety, and assiduous attention to the details of expression have been urmatched by any of Kuo Hsi's followers, and this monument, dated 1072, stands as the painter's supreme masterpiece. Kuo Hsi, a native of Honan, served as an official in the Imperial Painting Academy. He excelled at landscapes and wintry forests, which were executed with complex formal compositions and profound content."", ""Kuo Hsi (active late 11th century) came from Wen-hsien, Honan. He was a student　(i-hsueh) in the Painting Academy, specializing in landscapes and wintry trees. He was extremely skilful and profoundly original, and although he studied the style of Li Ch’eng he was also able to express his own feelings. On a large screen or high wall he would paint tall pines and large trees, winding streams and jagged promontories, lofty peaks and soaring cliffs, or high mountains gracefully rising, transformed or obliterated by mist and clouds and partially visible among them – he could render a thousand forms and myriad appearances. His mountain peaks were high and precipitous, his trees characterized by “crab-claw” branches, and his ink fairly dilute; his brushwork resembled that of cursive calligraphy, In his early years he concentrated on developing his skill, while in his later year his brushwork became increasingly strong. He wrote the Treatise on Landscape Painting (Shan-shui hua-lun) in which he said that one should study the near and far, the shallow and deep, the effects of wind and rain, light and shadow, and the changes of the seasons and times of day.""], ""網頁展示說明"": [""郭熙（活動於十一世紀），河南溫縣人。神宗熙寧年間（1068-1077），為翰林圖畫院藝學，善畫山水。著有《林泉高致》一書，是我國畫史上討論山水畫的一部重要論著。 　　這幅畫的主要景物集中在中軸線上，近景有大石和巨松，背後銜接中景扭動的山石，隔著雲霧，兩座山峰在遠景突起，居中矗立，下臨深淵，深山中有宏偉的殿堂樓閣。左側平坡委迤，令人覺得既深且遠。作者以粗闊扭曲的線條，描繪山石輪廓，再用乾溼濃淡不同的墨色，層層皴擦出岩石表面的紋理，因為形狀像捲曲的雲塊，所以稱為「捲雲皴」。樹木枝幹虯曲，枝椏像伸指布掌的樣子，稱為「蟹爪枝」，是承襲自宋初李成一系的特色。 　　畫幅右側畫家自題：「早春。壬子（1072）年郭熙畫。」顧名思義，這幅畫作是在描寫瑞雪消融，雲煙變幻，大地復甦，草木發枝，一片欣欣向榮的早春景象。"", ""Kuo Hsi, a native of Honan province, entitled this work \""Early Spring\"" and signed it \""Painted by Kuo Hsi in the jen-tzu year (1072).\"" Coming after \""Travelers Among Mountains and Streams\"" by Fan K'uan, this is one of the Museum's masterpieces of Northern Sung monumental landscape painting. Fan K'uan represented the solemn and eternal features of the mountains, while Kuo captured the essence of spring with his evanescent and atmospheric use of ink washes. With \""cloud-head\"" texture strokes for the mountain forms and \""crab-claw\"" ones for the trees, the landscape in this painting seems to almost pulsate, flow, and disappear (only to reappear again), suggesting the hidden forces of Nature and the cosmos at work."", ""郭熙（活動於西元十一世紀），河南溫縣人，神宗時為宮廷畫師，早先曾經為京師幾個重要的宮殿與寺廟繪製大型的屏風畫或壁畫，深受皇帝賞識，後來升遷為翰林圖畫院最高職位的「待詔」，製作了許多大型山水畫。他擅長巨障長松，煙雲變滅之景，山石用「卷雲皴」，樹木作「蟹爪」狀，創為一派。\r\n此圖作於神宗熙寧五年（1072），是存世最著名之作。畫上自題「早春」，顧名思義，畫的是初春瑞雪消融，大地甦醒，草木發枝，一片欣欣向榮的景象。主要景物集中於中軸線上，近景大石與高大的松樹，銜接中景「S」形的山石，隔著雲霧，再起二峰，主峰居中，下臨深淵，溪澗從谷間潺潺流下，深山中有宏偉的殿堂樓閣，懸崖上有草亭，背後襯以遠山。左側平坡委迤，遂覺有千里之遙。筆墨清潤，構圖綜合高遠、深遠、平遠法，呈現了可行，可望，可居，可游的理想山水。\r\n(20110913)""], ""收藏著錄"": [""石渠寶笈初編（養心殿），上冊，頁642"", ""故宮書畫錄（卷五），第三冊，頁52-53"", ""故宮書畫圖錄，第一冊，頁213-214""], ""參考書目"": [""1.何傳馨，〈宋郭熙早春圖〉，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74-77。\r\n2.許郭璜，〈宋郭熙早春圖〉，收入《李郭山水畫系特展》（臺北：國立故宮博物院，1999年初版），頁1-4。\r\n3.〈宋郭熙早春圖〉，收入國立故宮博物院編輯委員會編，《春景山水畫特展圖錄》（臺北：國立故宮博物院，1987年一月初版），頁46。\r\n4.陳韻如，〈宋郭熙早春圖　軸〉，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72-77。\r\n5.陳韻如，〈早春圖〉，收入林柏亭主編，《國寶菁華 — 書畫‧圖書文獻篇》（臺北：國立故宮博物院，2006年12月），頁197。\r\n6.〈宋郭熙早春圖〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁224。\r\n7.何傳馨，〈國之重寶 — 書畫精萃特展〉，《故宮文物月刊》，第19期（1984年10月），頁20。\r\n8.高木森，〈郭熙「早春圖」有一半是裱工偽造的劣蹟嗎？ — 評徐小虎的「表面之下 — 補筆之研究」〉，《故宮文物月刊》，第117期（1992年12月），頁76-93。\r\n9.江兆申，〈山鷓棘雀、早春與文會(談故宮三張宋畫)〉，《故宮季刊》，第十一卷第四期（1977年夏），頁13-21。\r\n10.李霖燦，〈山水畫中點景人物的斷代研究〉，《故宮季刊》，第十三卷第二期（1978年冬），頁25-40。\r\n11.李霖燦，〈故宮博物院的名畫寶藏(上)〉，《故宮季刊》，第十三卷第四期（1979年夏），頁69-83。\r\n12.陳葆真，〈從空間表現法看南宋小景山水畫的發展〉，《故宮學術季��》，第十三卷第三期（1996年春），頁83-117。\r\n13.沈以正，〈由郭熙與張擇端探討對北宋繪畫創作的理念與技法〉，《中華民國建國八十年中國藝術文物討論會論文集　書畫(上)》（臺北：國立故宮博物院，1992），頁33-44。\r\n14.《郭熙早春圖》（台北：國立故宮博物院，1980）。\r\n15.小川裕充，〈「院中名畫」--從董羽、巨然、燕蕭到郭熙〉，《藝術學》，第23期(2007年1月)，頁229-308。\r\n16.朱淑媛，《北宋郭熙繪畫觀研究》，中國文化學院藝術研究所碩士論文，1979年。\r\n17.楊元錚，〈談耿昭忠與安岐的兩方\""珍祕\""印〉，《故宮博物院院刊》，總第141期(2009年第1期)，頁60-63。\r\n18.陳韻如，〈宋郭熙早春圖〉，收入蔡玫芬主編，《精彩一百　國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁262。\r\n19.賴國生；〈院藏高劍父山水圖賞析〉，《故宮文物月刊》，第356期（2012年11月份），頁116-126。\r\n20.陳韻如；〈兩宋山水畫意的轉折──試論李唐山水畫的畫史位置〉，《故宮學術季刊》，第二十九卷第四期（2012年夏），頁75-107。"", ""陳韻如，〈宋郭熙早春圖　軸〉，收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》（臺北：國立故宮博物院，2016.10），頁100-107、270-271。"", ""國立故宮博物院編輯委員會，〈宋郭熙早春圖　軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁74-77。"", ""劉芳如、浦莉安、陳韻如，〈宋郭熙早春圖　軸〉，收入《鎮院國寶-范寬．郭熙．李唐》（臺北：國立故宮博物院，2021.10），頁72-103。""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000053N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000053N000000000')""}]}"
-13949,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13949?dep=P&mode=full,宋郭熙山水　軸,"{""文物統一編號"": ""故畫000060N000000000"", ""作品號"": ""故畫00006000000"", ""品名"": ""宋郭熙山水　軸"", ""分類"": ""繪畫"", ""作者"": ""郭熙"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""143.7x91.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""郭熙"", ""位置"": ""本幅"", ""款識"": ""郭熙"", ""書體"": ""楷書"", ""全文"": """"}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": ""六人""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": ""三人""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""籬笆、圍牆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(減筆)"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁57"", ""故宮書畫圖錄，第一冊，頁235-236""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈���立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000060N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000060N000000000')""}]}"
-1292,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1292?dep=P&mode=full,宋崔白蘆雁　軸,"{""文物統一編號"": ""故畫000063N000000000"", ""作品號"": ""故畫00006300000"", ""品名"": ""宋崔白蘆雁　軸\nWild Goose and Rushes"", ""分類"": ""繪畫"", ""作者"": ""崔白"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""138.1x52.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""崔白"", ""位置"": ""本幅"", ""款識"": ""濠梁崔白"", ""書體"": ""楷書"", ""全文"": ""濠梁崔白""}, {""題跋類別"": ""題跋"", ""作者"": ""孫承澤\n印記\nexpand_more"", ""位置"": ""邊幅"", ""款識"": ""退谷八十一老人題"", ""書體"": """", ""全文"": ""白露蒼蒼已結霜。蒹葭深處獨徜徉。羽毛無損性情適。不羨高岡有鳳凰。退谷八十一老人題。"", ""印記資料"": [{""印主"": ""孫承澤"", ""印記"": ""孫承澤印""}, {""印主"": ""孫承澤"", ""印記"": ""八十一翁""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""明官印"", ""印記"": ""司印（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""道濟書府""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蒼巖""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蕉林居士""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""雁"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""蘆葦"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": ""小塘""}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""崔白字子西，濠梁(今安徽鳳陽)人，仁宗時(1022-1063)選入畫院為藝學，善畫花鳥，尤其擅長於花竹、山兔、枯荷、水鳧、野雁之類的題材。水濱蘆叢下，有隻孤雁徘徊停留著。雁先以濃淡墨雙鉤成輪廓，然後用水墨漬染，再填以赭色和花青，表現出毛羽豐潤的光澤。絹地染上淡墨，使背景趨於明顯，並有寒氣籠罩的感覺。坡石上有「濠梁崔白」的款字。"", ""Description"": ""On the bank of a stream below a thicket of rushes a single wild goose has paused idly. The figure of the goose was first double-outlined with light and dark ink and then filled in with ink washes; umber and indigo were finally added to bring out the richness and lustre of its feathers. The silk ground was lightly limned in light ink washes to further emphasize the clarity of the forms as well as to contribute to the wintry atmosphere that infuses the entire painting.On the rocky slope is the signature \""Ts’ui Po of Hao-liang.\"" Ts’ui Po, (whose style name was Tzu-hsi) came from Hao-liang in Anhwei. He entered the Imperial Academy of Painting as an artist-in-apprenticeship duringg the reign of Jen-tsung Emperor (r.1022-1063). He specialized in painting flowers and birds and was particularly skilled in such subjects as flowers and bamboo, hares, dexayed lotuses, wild ducks, and wild geese."", ""收藏著錄"": [""石渠寶笈初編（御書房），下冊，頁1138"", ""故宮書畫錄（卷五），第三冊，頁60"", ""故宮書畫圖錄，第一冊，頁257-258""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000063N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000063N000000000')""}]}"
-1175,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1175?dep=P&mode=full,宋崔白竹鷗圖　軸,"{""文物統一編號"": ""故畫000064N000000000"", ""作品號"": ""故畫00006400000"", ""品名"": ""宋崔白竹鷗圖　軸\nEgret and Bamboo"", ""分類"": ""繪畫"", ""作者"": ""崔白,Cui Bo"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""101.3x49.9""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""崔白"", ""位置"": ""本幅"", ""款識"": ""崔白"", ""書體"": ""楷書"", ""全文"": ""崔白""}]","[{""印記類別"": ""收傳印記"", ""印主"": ""項德棻"", ""印記"": ""宛委堂印""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""虎林□吏""}, {""印記類別"": ""收傳印記"", ""印主"": ""陳彥廉"", ""印記"": ""春草堂圖書印""}, {""印記類別"": ""收傳印記"", ""印主"": ""陳彥廉"", ""印記"": ""陳氏彥廉""}, {""印記類別"": ""收傳印記"", ""印主"": ""笪重光"", ""印記"": ""笪重光印""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""檇李□道人賞鑑圖書""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清宣統帝"", ""印記"": ""宣統鑒賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""重華宮鑑藏璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂善堂圖書記""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鷺鷥"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": [""本幅畫翠竹、蘆草隨風搖曳，水波也起伏盪漾，白鷺一隻立於水中，則是放低了姿勢，採逆向迎風、涉水而行的姿態，動靜之間，形成均衡畫幅的力量。幅上雖有崔白二字款，若和院藏崔白的「雙喜圖」相比較，在刻劃花鳥的情態、掌握自然環境中一剎那生動的情景，兩者的風味相類；但在用筆方面，崔白的筆墨線條，無論粗細柔勁、濃淡乾濕、起伏頓挫，都為表現物象的質感、動態，隨物變化。而在「竹鷗圖」中，畫白鷗的線條細挺，畫竹子、蘆草和坡石則是時有斷續、富有彈性的線條，與院藏宋人「翠竹翎毛」中那種起伏變化明顯，偏向於南宋風格的線條較為接近，因此本幅雖非崔白所作，但屬宋代受崔白影響的作品之一。\r\n崔白（活動於11世紀後半），字子西，濠梁（今安徽鳳陽）人。宋仁宗時（1022-1062）畫院學藝。舉凡道釋、人物、禽獸、花卉無不精絕，尤擅長於花竹、山兔、枯荷、水鳧、野雁之類。"", ""崔白字子西，濠梁（今安徽鳳陽)人，仁宗時（西元一O二二至一O六三)畫院藝學。道釋、人物、禽獸、花卉無不精絕，尤擅花竹、山兔、枯荷、水鳧、野雁之類。\r\n    翠竹、水草隨風搖曳，水波亦起伏盪漾。白鷺則逆向涉水，低姿迎風，形成均衡畫幅之力量，益饒動態之趣。"", ""崔白（活動於11世紀後半），字子西，濠梁（今安徽鳳陽)人。仁宗時畫院藝學。道釋、人物、禽獸、花卉無不精絕。\r\n本幅畫翠竹、水草隨風搖曳，水波亦起伏盪漾。白鷺則逆向涉水，低姿迎風，饒富動態之趣。作者以挺勁有力的筆觸鉤畫竹竿、竹葉和蘆葦，用細若游絲的線條鉤勒白鷺的輪廓，且仔細地絲出白鷺的羽毛。從畫風來看，此畫雖與崔白不類，但繪製精謹細膩，可能為南宋畫家所為。\r\n(20110913)""], ""Description"": [""Cui Bo (style name Zixi), a native of Haoliang (modern Fengyang, Anhui), served as an Art Student in the Painting Academy under Emperor Renzong. He was skilled at depicting Buddhist and Taoist subjects, figures, flowers, birds, and other animals all with consummate refinement.\r\nIn this painting, water grasses flutter gently in the breeze under green bamboo as small waves rise and are lightly tossed about. A white egret wades against the flow, advancing low into the wind and making the forms come to life with energy. The artist used strong and upright brush strokes to render the bamboo stalks and leaves as well as the reeds. To outline the egret, however, he employed lines as fine as spun silk strands, which he used to delicately “weave” the feathers. Judging from the style, this painting is unrelated to Cui Bo, but the refined and delicate manner suggests it may have come from the hand of a Southern Song artist.\r\n(20110913)"", ""Ts'ui Po, tzu Tzu-hsi, was a native of Hao-ling in Anhui province.  He worked in the Imperial Academy of Painting during the reign of Emperor Jen-tsung (r. 1022- 1063), and was skilled in depicting Buddhist and Taoist subjects, figures, flowers, birds, and other small animals in light, clear color. He was especially noted for his depictions of flowers and bamboo, wild rabbits, withered lotuses, and wild ducks and geese. \r\n     In this painting water grasses waver gently in the breeze under green bamboo and small waves rise to be gently tossed about.  An egret wades in the water, advancing into the wind. The painting, charged with energy, conveys a vivid, lifelike impression.""], ""收藏著錄"": [""石渠寶笈初編（重華宮），下冊，頁802"", ""故宮書畫錄（卷五），第三冊，頁60"", ""故宮書畫圖錄，第一冊，頁259-260""], ""參考書目"": ""1.林柏亭，〈帝國的回憶　國立故宮博物院瑰寶赴法展專輯一 — 崔白竹鷗圖〉，《故宮文物月刊》，第185期（1998年8月），頁26-27。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000064N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000064N000000000')""}]}"
-13950,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13950?dep=P&mode=full,宋勾龍爽山水　軸,"{""文物統一編號"": ""故畫000065N000000000"", ""作品號"": ""故畫00006500000"", ""品名"": ""宋勾龍爽山水　軸"", ""分類"": ""繪畫"", ""作者"": ""勾龍爽"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""40.8x29.7""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""穎濱"", ""位置"": """", ""款識"": ""穎濱"", ""書體"": ""草書"", ""全文"": ""潑墨成山。行影如流湍。此勾龍之筆無疑。穎濱。""}, {""題跋類別"": ""題跋"", ""作者"": ""陳焯\n印記\nexpand_more"", ""位置"": ""褾綾"", ""款識"": ""乙巳（西元一六六五年）十月。吳興陳焯。"", ""書體"": ""楷書"", ""全文"": ""宋人畫不易得見。余昔見司馬君實獨樂園圖。筆墨秀潤。有如此者。此幀絹素細密。古趣盎然。為檇李項氏鑒藏。宜潛山深愛之也。乙巳（西元一六六五年）十月。吳興陳焯。"", ""印記資料"": [{""印主"": ""陳焯"", ""印記"": ""陳焯""}]}, {""題跋類別"": ""題籤"", ""作者"": """", ""位置"": """", ""款識"": """", ""書體"": ""行書"", ""全文"": ""宋勾龍爽山水。一笑山房珍藏。""}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（一印漫漶不可識）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""□鼎""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""子京""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""子孫世昌""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項叔子""}, {""印記類別"": ""收傳印記"", ""印主"": ""項篤壽"", ""印記"": ""項篤壽印""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""墨林秘玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""檇李項氏士家寶玩""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""帆船"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(減筆)"", ""技法細目"": """"}, {""技法"": ""苔點"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}, {""技法"": ""寫意"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1395"", ""故宮書畫錄（卷五），第三冊，頁60-61"", ""故宮書畫圖錄，第一冊，頁261-262""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000065N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000065N000000000')""}]}"
-13948,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13948?dep=P&mode=full,宋郭熙畫山水　軸,"{""文物統一編號"": ""故畫000059N000000000"", ""作品號"": ""故畫00005900000"", ""品名"": ""宋郭熙畫山水　軸\nLandscape"", ""分類"": ""繪畫"", ""作者"": ""郭熙"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""188.8x95""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""郭熙"", ""位置"": ""本幅"", ""款識"": ""河陽郭熙"", ""書體"": ""行書"", ""全文"": """"}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""樂器"", ""主題說明"": ""琴""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""楊柳"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(減筆)"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""郭熙河陽溫縣（今河南溫縣）人，神宗熙寧年間（西元一0六八至一0七七）為畫院藝學，善於畫山水。畫法學自李成，但能建立自己的面貌。 主峰聳立，山石重疊險峻而多變化，或如束帛，或如「馬牙」。山腳一片霧氣籠罩著，樓台隱約可見。小舟橫於柳岸，有二位士人帶著童子在小橋上漫步，能得荒江野水之幽趣。"", ""Description"": ""Kuo Hsi came from Wen-hsien in Honan. His style name was Shun-fu. He jained the Painting Academy in 1068 on command from the Emperor Shen-tsung. He was an excellent painter of landscapes. Though he modelled himself on Li Ch'eng (916-967), his paintings express his own feelings and ideas. He invented a type of landscape wall-painting in which mud was thrown onto a wall and then painted to resemble mountains and trees. He was the author of an important treatise on landscape painting. In this picture craggy peaks tower over a sheer, rugged cliff. Below a river pours over a wild, desolate plain. Fog encircles a mansion and a boat is moored among willow reeds. Two old men, accompanied by a boy carrying a lute, walk in quest of a secluded spot amid splendid scenery. In this magnificent landscape we may note especially the wonderfully painted mountains and rocks which exactly capture the mysterious atmosphere of the wild, watery plain."", ""收藏著錄"": [""石渠寶笈三編（乾清宮），第一冊，頁485"", ""故宮書畫錄（卷五），第三冊，頁56-57"", ""故宮書畫圖錄，第一冊，頁233-234""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000059N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000059N000000000')""}]}"
-1177,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1177?dep=P&mode=full,宋徽宗溪山秋色圖　軸,"{""文物統一編號"": ""故畫000066N000000000"", ""作品號"": ""故畫00006600000"", ""品名"": ""宋徽宗溪山秋色圖　軸\nThe Autumn Colors of Mountains and Stream"", ""分類"": ""繪畫"", ""作者"": ""趙佶,徽宗(Huizong),Huizong"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""97x53""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""御題"", ""書體"": ""行書"", ""全文"": ""雨郭烟村白水環。迷離紅葉間蒼山。恍聞谷口清猿唳。艮嶽秋光想像間。御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""幾暇鑒賞之璽""}, {""印主"": ""清高宗"", ""印記"": ""乾隆御筆""}]}, {""題跋類別"": ""作者款識"", ""作者"": ""宋徽宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""（押字）"", ""書體"": """", ""全文"": """", ""印記資料"": [{""印主"": ""趙佶"", ""印記"": ""御書""}]}, {""題跋類別"": ""題籤"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": """", ""款識"": """", ""書體"": """", ""全文"": ""宣和谿山秋色真跡。上上神品。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""天府珍藏""}, {""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""明官印"", ""印記"": ""司印(半印)""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""棠村審定""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蒼巖子梁清標玉立氏印章""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蕉林""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑑藏寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""秋景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""水榭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""塔"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""漁船"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈初編（養心殿），上冊，頁641"", ""故宮書畫錄（卷五），第三冊，頁64"", ""故宮書畫圖錄，第一冊，頁295-296""], ""參考書目"": [""1.林莉娜，〈宋徽宗谿山秋色〉，收入林莉娜編，《秋景山水畫特展圖錄》（臺北：國立故宮博物院，1989年十月初版），頁65-66。"", ""劉芳如，〈宋徽宗溪山秋色圖　軸〉，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88-91、307。"", ""童文娥，〈宋徽宗溪山秋色圖　軸〉，收入劉芳如主編《遺珠-大阪市立美術館珍藏書畫》（臺北：國立故宮博物院，2021.08），頁90-91、271。""], ""網頁展示說明"": [""徽宗趙佶（1082–1135），北宋第八位皇帝，擅長花鳥畫，亦能詩善書，並稱三絕。任內改革畫院，編輯〈宣和書譜〉、〈宣和畫譜〉、〈宣和博古錄〉等書，開創藏品著錄之例。\r\n畫中崇山疊嶂、沙坡群樹出現在畫幅的左上側，山石輪廓渾圓，水墨淡染其間，綴以煙靄野水，再現山水於抒情詩意的氛圍中。雖畫上鈐有徽宗的花押及「御書」印記，然從畫風看，此作成畫時間約在南宋時期。\r\n(20120714)"", ""Huizong, the eighth emperor of the Northern Song, specialized in painting (bird-and-flower subjects in particular) and also was gifted at poetry and calligraphy, together known as the Three Perfections. In his reign, he reformed the Painting Academy, and three catalogues were compiled for the imperial collection of painting, calligraphy, and antiquities, setting a precedent for later records of such. \r\nIn this work, lofty mountains rise in the left background with shoals and trees in front. The outlines of the peaks are rounded with mists and waters appearing here and there among light ink washes, creating a lyrical atmosphere in the landscape. Though this work features a Huizong cipher and his \""Imperial calligraphy\"" seal, the style suggests it was done sometime in the Southern Song.\r\n(20120714)"", ""徽宗趙佶（1082－1135）、北宋第八代皇帝。花鳥畫が得意で詩文も書もよくし、「三絕」と稱された。在位中に畫院の改革を行い、『宣和書譜』『宣和畫譜』、『宣和博古錄』などの書籍を編集した。この三冊が所蔵品目錄の先駆となった。\r\n連なり重なる高山や樹木、川岸が畫面左上に描かれている。山石の輪郭には丸みがあり、淡い水墨の間にかすみたなびく風景が描写され、抒情的な詩意が漂う中に山水の眺めが再現されている。畫上には徽宗帝の花押印のほか、「御書」という印も見られるが、畫風から判断すると南宋時代頃に描かれた作品である。\r\n(20120714)""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000066N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000066N000000000')""}]}"
-1263,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1263?dep=P&mode=full,宋王詵畫鷹　軸,"{""文物統一編號"": ""故畫000069N000000000"", ""作品號"": ""故畫00006900000"", ""品名"": ""宋王詵畫鷹　軸"", ""分類"": ""繪畫"", ""作者"": ""王詵"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""136.7x69.7""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""王詵"", ""位置"": ""本幅"", ""款識"": ""大宋駙馬王晉卿寫"", ""書體"": ""楷書"", ""全文"": """"}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""���統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""狗"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""雉（錦雞．雉類）"", ""主題說明"": ""環頸雉""}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鷹"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1441"", ""故宮書畫錄（卷五），第三冊，頁66-67"", ""故宮書畫圖錄，第一冊，頁311-312""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000069N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000069N000000000')""}]}"
-1293,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1293?dep=P&mode=full,宋郭思戲羊圖　軸,"{""文物統一編號"": ""故畫000072N000000000"", ""作品號"": ""故畫00007200000"", ""品名"": ""宋郭思戲羊圖　軸\nBoy and Goat"", ""分類"": ""繪畫"", ""作者"": ""郭思"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""198x102.9""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""郭思\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""郭思"", ""書體"": ""楷書"", ""全文"": """", ""印記資料"": [{""印主"": ""郭思"", ""印記"": ""（印一不可辨）""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""孩童"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""羊"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""服飾（對人）"", ""主題說明"": ""雙龍搶珠小背心""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""茶花"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈續編（御書房），第四冊，頁1927"", ""故宮書畫錄（卷五），第三冊，頁69"", ""故宮書畫圖錄，第一冊，頁321-322""], ""參考書目"": ""1.〈傳宋郭思戲羊圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁181。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000072N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000072N000000000')""}]}"
-1328,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1328?dep=P&mode=full,宋趙伯駒春山圖　軸,"{""文物統一編號"": ""故畫000073N000000000"", ""作品號"": ""故畫00007300000"", ""品名"": ""宋趙伯駒春山圖　軸\nSpring Moutains"", ""分類"": ""繪畫"", ""作者"": ""趙伯駒,Zhao Boju"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""89.5x32.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""趙伯駒春山圖。""}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""御筆。題句後並識。"", ""書體"": ""行書"", ""全文"": ""此幀未署名款。而觀其風神筆力。與石渠寶笈所收趙伯駒真跡正合。因為審定標題。蓋伯駒畫多不署名。如赤壁圖經柯九思審定。漢宮圖經董其昌審定。而江山秋色則見跋語中。今為拈出。設遇精鑒如丹丘香光。必當證可。御筆。題句後並識。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""德充符""}, {""印主"": ""清高宗"", ""印記"": ""會心不遠""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""乾隆丁丑春月御題"", ""書體"": ""行書"", ""全文"": ""古寺雲霞嶠。人家桃柳村。精神北宋本。結構仲長論。大塊文章繢。春山櫽括言。不須問名氏。望可識王孫。乾隆丁丑春月御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""珍藏畫印""}, {""印記類別"": ""收傳印記"", ""印主"": ""柯九思"", ""印記"": ""蘊真齋""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮續入石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂鑒藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""春景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""百姓"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""農夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""樵夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""牛"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""馬"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""水榭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""篷舟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""楊柳"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""趙伯駒(1120-1183)，字千里，宋太祖七世孫。善畫青綠山水，兼工花卉翎毛，尤長於人物樓臺界畫。本幅畫山水晴雲，遊騎尋春，村家桃柳，水亭茶話。通幅以青綠為主調，生動地表現出春日觸目階綠的景緻。"", ""Description"": ""Beneath the fair-weather clouds of this landscape have come people on spring outings. Among the peaches and willows is a pavilion on the water, where people chat and drink tea. The painting's primary tones are green and blue, which vividly depict the predominantly green scenery that greets the eye in spring. Chao Po-chu, stylenamed Ch'ien-li, was the seventh generation grandson of Emperor Sung T'ai-tsu. He excelled in blue and green landscapes, flower and bird paintings, figure paintings, and ruled-line paintings of architectural subjects."", ""參考書目"": [""何傳馨，〈宋趙伯駒春山圖　軸〉，收入《十全乾隆─清高宗的藝術品味》（臺北：國立故宮博物院，2013.10），頁168-169。"", ""1.〈宋趙伯駒春山圖〉，收入國立故宮博物院編輯委員會編，《春景山水畫特展圖錄》（臺北：國立故宮博物院，1987年一月初版），頁52。\r\n2.本社，〈宋趙伯駒春山圖軸〉，《故宮文物月刊》第26期（1985年5月），封底裡。""], ""收藏著錄"": [""石渠寶笈續編（寧壽宮），第五冊，頁2705"", ""故宮書畫錄（卷五），第三冊，頁69-70"", ""故宮書畫圖錄，第二冊，頁3-4""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000073N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000073N000000000')""}]}"
-39,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/39?dep=P&mode=full,宋趙伯駒漢宮圖　軸,"{""文物統一編號"": ""故畫000075N000000000"", ""作品號"": ""故畫00007500000"", ""品名"": ""宋趙伯駒漢宮圖　軸\nThe Han Palace"", ""分類"": ""繪畫"", ""作者"": ""趙伯駒"", ""數量"": ""一軸（團扇式）""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""24.5x24.5""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""24.5x24.5""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""已卯（西元一七五九年）御題。"", ""書體"": ""行書"", ""全文"": ""劉郎七夕集靈臺。阿母青鸞送信來。金馬是誰得陪乘。獨稱方朔善諧詼。已卯（西元一七五九年）御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""寶一""}, {""印主"": ""清高宗"", ""印記"": ""太卦""}]}, {""題跋類別"": ""題跋"", ""作者"": ""董其昌\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""趙千里學李昭道宮殿。足稱神品。董其昌審定。"", ""印記資料"": [{""印主"": ""董其昌"", ""印記"": ""知制誥日講官""}, {""印主"": ""董其昌"", ""印記"": ""董其昌印""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（兩半印不識）""}, {""印記類別"": ""收傳印記"", ""印主"": ""索額圖"", ""印記"": ""九如清玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""索額圖"", ""印記"": ""也園珍賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""千山耿信公書畫之章""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""丹誠""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""宜爾子孫""}, {""印記類別"": ""收傳印記"", ""印主"": ""阿爾喜普"", ""印記"": ""東平""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""信公珍賞(重一)""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""信公鑒定珍藏(兩半印)""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""珍秘""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""真賞(重一)""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""都尉耿信公書畫之章""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""琴書堂""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿嘉祚"", ""印記"": ""會侯珍藏(重一)""}, {""印記類別"": ""收傳印記"", ""印主"": ""阿爾喜普"", ""印記"": ""櫰庭清玩""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御賞之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""幾暇鑑賞之璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮續入石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂鑒藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""懋勤殿鑒定章""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""夜景（月景）"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""宮殿"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""節令與二十四節氣"", ""主題(第二層)"": ""七夕"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""仕女"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""圉人"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""牛"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""羊"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""馬"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""車"", ""主題(第二層)"": ""獸力車"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""芭蕉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""楊柳"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}]","{""內容簡介"": [""重檐歇山頂樓閣造型雄渾有力，室內擺置鎏金香爐、鼎、尊等銅器及瓷器，此類器物多用於筵席陳設及重要禮儀場合，所繪應為南宋宮廷重要殿閣，主題則是皇宮節令活動之實景。\r\n宮廷樂人並排引導奏樂，隊伍內有執扇宮娥伴隨妃嬪徐徐步行。庭院帷障內停放牛車馬輅，篷頂覆棕絲並綴朱漆脊梁，車身雕鏤裝飾華美，應為官員眷屬座車。本幅雖無名款，董其昌（1555－1636）跋文訂為趙伯駒（約1120－約1162）所作。(20101015)"", ""趙伯駒（約西元1120-1162年），字千里，宋太祖七世孫，趙大 年之子。仕至浙東兵馬鈐轄。善畫山水、花果、翎毛，及人物。樓閣界畫尤妙。 本幅界畫漢宮，宮中設步帳，帳外牛馬車駕。帳內宮女兩行，各執法樂。擁簇一婦人，後從五箑，前有餼羊，穿假山，趨高臺。賦彩古艷，筆細而沈著有力，人物、車馬、樓閣、傢俱、樹石遠山賅備，雖是小品，卻極複雜精細。清高宗以為漢武帝七夕會西王母事。原無名款，明末董其昌審定為南宋初趙伯駒所繪。 本幅畫漢宮七夕景色，宮殿閣道，上接層觀。人物、車馬、樓閣、傢俱、樹石遠山賅備，是小品中較為複雜的畫。原無名款，唯畫中用界極工，人物精妙，明末董其昌審定為南宋初趙伯駒所作。詩塘有董其昌記：「趙千里學李昭道宮殿，足稱神品。董其昌審定」。""], ""Description"": [""Chao Po-chu was a descendent of the founder of the Sung dynasty, and son of the artist Chao Ta-nien. He served as Military Administrator of Infantry and Cavalry in Che-tung, Chekiang. He was good at many subjects, but his architectural and ruled line paintings were especially excellent. This painting depicts a scene at the Han Palace. Outside screens in the courtyard are ox – and horse-drawn carriages; within are two columns of court maidens, each holding a musical instrument. They are escorting a lady. Behind them are five attendants carrying fans. A sacrificial sheep precedes them, and the entire procession is crossing the artificial mountains toward a shrine altar. The application of color is particularly handsome, and the use of the brush is fine yet forceful. There is an inscription by the Ch'ien-lung emperor(r. 1736-1796), who thought that the painting depicts the sacrifice performed by Han emperor Wu-ti (140-86 B.C.) in his effort to meet the Queen Mother of the West (Queen of the Taoist Fairies). Chao Po-chu (1120-1162), style name Ch'ien-li, was the seventh generation descendant of Sung T'ai-tzu(r.960-966) and the son of Chao Ling-jang (No.70). He served as a military official in eastern Chekiang but was also an able painter of landscapes, flowers and fruit, birds and animals, and figures. He was especially adept at rendering storied buildings in the “boundary painting“ manner. “The Han Palace” depicts the palace on the night of the Ch'i-hsi festival (the 7th of the seventh lunar month). At the top of path is a high pavilion with a viewing platform. The scene is filled with figures, carts, horses, and furnishings. It is not signed. On the colophon paper above the painting is an inscription by Tung Ch'i-ch'ang, who evaluated it in these words, “Chao Ch'ien-li studied the palaces of Li Chao-tao. This (painting) is good enough to belong to the divine class.”"", ""The form of the double-eave, hip-and-gable roof for the main building in this painting is majestic and imposing, and set up in the interior are refined bronzes and porcelains, such as a gilt incense burner, cauldron, and zun vessel. Such types were mostly used at banquet settings and important ceremonies. As a result, the painting here probably depicts a major hall at the Southern Song court, the subject perhaps being an actual scene from an imperial festival.\r\n\tFemale court musicians here line up side-by-side to lead the tune, and in the ranks are palace female attendants holding rounded fans for the concubines proceeding through the scene. The courtyard is curtained off in front with ox- and horse-carriages outside. The awning to the carriage on the right is covered with coir frills embellished with red lacquer ridges. The body of the vehicle with its beautiful openwork decoration indicates it is probably for someone with official relations. Although this work has no signature, Dong Qichang (1555-1636) ascribed it to Zhao Boju.(20101015)""], ""參考書目"": [""〈宋趙伯駒漢宮圖　軸〉，收入李玉珉、何炎泉、邱士華主編《妙合神離-董其昌書畫特展》（臺北：國立故宮博物院，2016.01），頁90-91、382。"", ""何傳馨，〈宋趙伯駒漢宮圖　軸〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁278-279、382。"", ""國立故宮博物院編輯委員會，〈宋趙伯駒漢宮圖　軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁102-103。"", ""1.童文娥，〈宋趙伯駒漢宮圖〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立��宮博物院，1987年初版，2001年再版），頁102-103。\r\n2.國立故宮博物院編輯委員會，〈宋趙伯駒漢宮圖〉，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56。\r\n3.本社，〈宋趙伯駒漢宮圖〉，《故宮文物月刊》，第17期（1984年8月），頁1。\r\n4.李霖燦，〈山水畫中點景人物的斷代研究〉，《故宮季刊》，第十三卷第二期（1978年冬），頁25-40。\r\n5.林莉娜，〈漢宮圖〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁382。""], ""收藏著錄"": [""石渠寶笈續篇（寧壽宮），第五冊，頁2704"", ""故宮書畫錄（卷五），第三冊，頁70-71"", ""故宮書畫圖錄，第二冊，頁7-8""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000075N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000075N000000000')""}]}"
-13953,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13953?dep=P&mode=full,宋馬和之柳溪春舫圖　軸,"{""文物統一編號"": ""故畫000080N000000000"", ""作品號"": ""故畫00008000000"", ""品名"": ""宋馬和之柳溪春舫圖　軸"", ""分類"": ""繪畫"", ""作者"": ""馬和之"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""36.7x51.4""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""馬和之"", ""位置"": ""本幅"", ""款識"": ""和之"", ""書體"": ""楷書"", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（一印不辨）""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""子京""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""子孫永保""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""天籟閣（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""平生真賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱之赤"", ""印記"": ""朱之赤鑒賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""神品（重一）""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""退密""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱之赤"", ""印記"": ""晴窗寶玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項子京家珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項墨林鑑賞章""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蒼嚴""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""墨林山人""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蕉林居士""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""春景"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""客舫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""楊柳"", ""主題說明"": """"}]","[{""技法"": ""界畫"", ""技法細目"": """"}]","{""內容簡介"": ""馬和之（約活動於十二世紀中葉），浙江杭州人。紹興時登第，任官工部侍郎，深得皇帝賞識。善畫山水樹石，所作人物尤其佳妙。\r\n    本幅構思平實，設色淡雅，山紋水波，垂柳葉幹，飄逸柔和的景色中，散發著淡淡的春之氣息。幅中雖有「和之」款，然筆墨線���和世傳的馬氏筆法不類，當為後仿之作。畫幅右下有千字文第七五一「歡」字編號。"", ""Description"": ""Ma Hezhi of Hangzhou in Zhejiang became a Presented Scholar in the Shaoxing era (1131-1162) and then was Vice Director of Works. Appreciated by Emperors Gaozong and Xiaozong, Ma excelled at landscapes as well as rocks and trees. His figures were quite marvelous, learning from Wu Daoxuan’s style to create his “leech strokes.” The composition here seems plain, but the colors are elegant. The brushwork for the delicate mountain veins, waves, and willows emit an aura of spring. Though this work has a “Hezhi” signature, the lines differ from other surviving works, suggesting a later imitation. In the lower right is the 751st character (huan 歡) from the “Thousand Character Classic,” indicating the work was once in Xiang Yuanbian’s collection."", ""收藏著錄"": [""石渠寶笈初編（御書房），下冊，頁1139"", ""故宮書畫錄（卷五），第三冊，頁73"", ""故宮書畫圖錄，第二冊，頁23-24""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000080N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000080N000000000')""}]}"
-13955,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13955?dep=P&mode=full,宋李唐雪江圖　軸,"{""文物統一編號"": ""故畫000083N000000000"", ""作品號"": ""故畫00008300000"", ""品名"": ""宋李唐雪江圖　軸"", ""分類"": ""繪畫"", ""作者"": ""李唐"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""102x47.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""李唐\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""李唐作"", ""書體"": ""楷書"", ""全文"": """", ""印記資料"": [{""印主"": ""李唐"", ""印記"": ""（一印漫漶不識）""}]}, {""題跋類別"": ""題跋"", ""作者"": ""董其昌\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""董其昌題"", ""書體"": ""行書"", ""全文"": ""李晞古雪江圖。乍披之似唐人筆。宋思陵所謂李唐畫不減李思訓也。董其昌題。"", ""印記資料"": [{""印主"": ""董其昌"", ""印記"": ""董其昌印""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（一印漫漶不識）""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""耿昭忠信公氏一字在良別號長白山長收藏書畫印記""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""都尉耿信公書畫之章""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""山徑"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""漁船"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""篷舟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""耕織漁獵"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""苔點"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}, {""技法"": ""寫意"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈續編（御書房），第四冊，頁1927"", ""故宮書畫錄（卷五），第三冊，頁75"", ""故宮書畫圖錄，第二冊，頁43-44""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000083N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000083N000000000')""}]}"
-13954,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13954?dep=P&mode=full,宋李唐煙嵐蕭寺　軸,"{""文物統一編號"": ""故畫000082N000000000"", ""作品號"": ""故畫00008200000"", ""品名"": ""宋李唐煙嵐蕭寺　軸\nDesolate Temple in Misty Haz"", ""分類"": ""繪畫"", ""作者"": ""李唐"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""51x49.5""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""26x49""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": """", ""位置"": ""詩塘"", ""款識"": """", ""書體"": ""草書"", ""全文"": ""此幅棠村師所貽。據云向曾有邊款李唐製三字。後為裝池俗手截去。誠為可惜。丙辰春重裝。因識。柏鄉魏雋。弟廷樞同煮茗觀。是日正春雨初晴也。""}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""戊子仲春月上澣御題"", ""書體"": ""行書"", ""全文"": ""已開南法秀。尚具北宗雄。斟酌誠兼善。精神是獨工。泉聲疑㶁㶁。烟氣鎮濛濛。付與苾芻侶。招提坐悟空。戊子仲春月上澣御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""司印（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""晉國奎章""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""乾坤清玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""清和珍玩""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""信天主人""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""淳化軒""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""淳化軒圖書珍秘寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑��寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""塔"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""苔點"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""雨點皴""}]","{""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1478"", ""故宮書畫錄（卷五），第三冊，頁74"", ""故宮書畫圖錄，第二冊，頁39-40""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000082N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000082N000000000')""}]}"
-42,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/42?dep=P&mode=full,宋蕭照畫山腰樓觀　軸,"{""文物統一編號"": ""故畫000085N000000000"", ""作品號"": ""故畫00008500000"", ""品名"": ""宋蕭照畫山腰樓觀　軸\nBuildings on a Mountainside"", ""分類"": ""繪畫"", ""作者"": ""蕭照"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""179.3x112.7""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""蕭照"", ""位置"": ""本幅"", ""款識"": ""蕭照"", ""書體"": ""楷書"", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": ""明官印"", ""印記"": ""司印(半印)""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""慧辯知賢印章""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""石磴、棧道"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}]","{""內容簡介"": [""蕭照，濩澤（今山西陽城）人。頗有學識，亦好繪畫。靖康元年（西元一一二六年）於太行山與人結夥為盜。一日劫獲畫家李唐，乃放棄為盜，隨之南渡，於南宋高宗紹興元年（西元一一三一年）入畫院為待詔。 在畫幅中間絕壁處，有「蕭照」二字落款。從畫中斧劈皴法之運用，可看出其深受李唐之影響，不僅形似，神韻亦相當接近。"", ""蕭照，（西元十二世紀）山西濩澤人。頗知書，亦善畫。靖康中流入太行山為盜，一日掠獲李唐，素慕唐名，即辭賊隨唐南渡，從唐學畫，紹興間入畫院。 高山見其半壁，溪流傍山，空曠清遠。畫法與李唐一脈相承，惟皴山筆法，與唐相較，差見變化耳。款書兩字，在舟子頭頂最高絕壁處。"", ""畫幅中央絕壁處外側，有「蕭照」二字款署。傳說北宋末年他於太行山為盜，一日劫獲李唐，才隨之習畫，後亦入南宋畫院。本幅左側畫山岩崖壁，岩塊多方折峻峭。由此中段山體延伸而出一平台岩塊，上立有二人相對與談，似正在遠眺對岸景緻。 此畫山體構成已脫去北宋大觀式山水巨障效果，而與李唐〈萬壑松風圖〉講究物象豐厚的近觀山水相近，藉堅實岩塊、迷茫遠山，營造出實、虛相對的景緻。(20101015)""], ""Description"": [""In this painting is one side of a central precipice along with a signature of two characters for “Xiao Zhao.” Legend has it that Xiao was a bandit in the Taihang Mountains in the late Northern Song when he tried to rob the fleeing court artist Li Tang, who taught him instead how to paint, and Xiao later entered the Southern Song Painting Academy as well. The left side of this work is composed of a soaring precipice with many sharp and craggy rocks. From the central part of the mountain form extends a rocky outcropping, upon which stand two figures talking with each other and appearing as if looking out and admiring the beautiful scenery on the distant banks. \r\nThis work has already begun to depart from the majesty of Northern Song monumental landscape painting, being more similar to the up-close style of scenery focusing on the details and richness of forms as seen in Li Tang’s “Wind in Pines Among a Myriad Valleys.” With the solid rocks and misty distant mountains, it creates a beautiful scene of contrasting solids and voids.(20101015)"", ""Streams cascade down the side of a high mountain, only part of which is visible on the left-hand side of the painting, while on the right a level plain stretches off into the distance. Hsiao Chao's painting methods were acquired from Li T'ang, but only his handling of the texture strokes that model the mountains can be compared with Li's; furthermore, Hsiao's subjects are not painted with the same versatility as his teacher's. The two characters of the artist's signature can be seen in mid-air below the tree that overhangs the cliff in the center of the painting. Hsiao Chao, a native of Huo-tse, Shansi, excelled at both calligraphy and painting, In 1126 he became a bandit in the T'ai-hang mountains. There he once captured in a raid the famous artist Li T'ang, whom he had long admired, and ended up following him to the re-established court in the South. Hsiao consequently studied painting with Li and in the Shao-hsing era(1131-1163) entered the Imperial Academy of Painting."", ""Hsiao Chao, a native of Hu-ts'e (modern Yang-ch'eng, Shansi), was a learned man who practiced calligraphy and painting. In 1126, with the fall of the Northern Sung, he took to the T'ai-hang mountains as a bandit. After he met the famed artist Li T'ang, he abandoned his life of banditry and became Li's student. In 1131, Hsiao entered the painting academy under Emperor Kao-tsung. Hsiao Chao inscribed his name in the center to the right of the cliff face below the tree leaves. Above a moored boat, two figures stand pointing out to the vast misty landscape. Figures walk up to the buildings in the upper left. Hsiao is indebted to Li T'ang not only for the \""axe-cut\"" texture strokes, but also for the overall spirit of this painting.""], ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1479"", ""故宮書畫錄 (卷五)，第三冊，頁76-77"", ""故宮書畫圖錄，第二冊，頁49-50""], ""參考書目"": [""1.許郭璜，〈宋蕭照畫山腰樓觀〉，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110-111。\r\n2.〈宋蕭照山腰樓觀〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁227。\r\n3.陳韻如，〈畫山腰樓觀〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁357。\r\n4.廖堯震，〈微醺西湖畔，對影六七幅　南宋小景山水的詩情畫境〉，《典藏古美術》，第217期(2010年10月)，頁102-109。\r\n5.陳韻如；〈兩宋山水畫意的轉折──試論李唐山水畫的畫史位置〉，《故宮學術季刊》，第二十九卷第四期（2012年夏），頁75-107。"", ""〈宋蕭照畫山腰樓觀　軸〉，收入劉芳如主編《國寶再現-書畫菁華特展》（臺北：國立故宮博物院，2018.10），頁114-123、254-255。"", ""何傳馨，〈宋蕭照畫山腰樓觀　軸〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁178-179、357。"", ""國立故宮博物院編輯委員會，〈宋蕭照畫山腰樓觀　軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁110-111。""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000085N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000085N000000000')""}]}"
-917,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/917?dep=P&mode=full,遼蕭瀜畫花鳥　軸,"{""文物統一編號"": ""故畫000086N000000000"", ""作品號"": ""故畫00008600000"", ""品名"": ""遼蕭瀜畫花鳥　軸\nFlowers and Birds"", ""分類"": ""繪畫"", ""作者"": ""蕭瀜"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""145x83""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""蕭瀜\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""南院樞密使政蕭瀜恭畫"", ""書體"": ""楷書"", ""全文"": """", ""印記資料"": [{""印主"": ""蕭瀜"", ""印記"": ""蕭瀜""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""朱常淓"", ""印記"": ""潞國敬一主人中和九世傳寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""雉（錦雞．雉類）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""月季　玫瑰　薔薇"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": ""畫中山鵲野鳥，用石青、白粉，顏色極為明麗。山石間一道水流激射而出，一鵲飲於其間，令人覺得景幽境美。本件就畫風論，與其他的明朝呂紀作品比較，非常接近，反而不是11世紀時候的風格。 蕭瀜（約西元11世紀），契丹人。為遼國貴族，好讀書，喜好繪畫，凡有人到宋國，必要求購買名畫，帶回來做為學習範本。"", ""Description"": [""Hsiao Jung was a Khitan member of an aristocratic family of the Liao dynasty. He was a lover of learning, a painter, and a calligrapher. Ambassadors to the Sung court would be order by him to buy paintings. He would then assiduously copy works brought back. Thus Hsiao Jung became an artist in his own right. In this painting attributed to Hsiao Jung, the Bright mineral colors used to paint the pheasants, bamboo and rocks achieve a highly engaging effect. The texture strokes and delineation of the bamboo are especially powerful. A certain fluidity pervades the well-practised and vigorous brushline of this Liao dynasty artist."", ""Hsiao Jung was a Khitan and a member of the Liao dynasty aristocratic family. He was an avid scholar and an excellent painter. When Liao subjects went to the Sung, they would be ordered to purchase famous paintings, which would be brought back as models for study. In this painting of wild birds and blue magpies, the use of bright mineral blue and white pigment stands out for an opulent effect. A stream rushes down between the mist-shrouded valley walls where the blue magpies have stopped to drink, bringing liveliness to this otherwise tranquil setting. The style of this work appears very similar to that of other works by the Ming court artist Lu Chi (fl.1439-l505) rather than that of the 11th century.""], ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁77"", ""故宮書畫圖錄，第二冊，頁51-52""], ""參考書目"": ""1.譚怡令，〈遼蕭瀜畫花鳥〉，收入譚怡令編，《呂紀花鳥畫特展》（臺北：國立故宮博物院，1995年初版），頁111。\r\n2.〈傳遼蕭瀜畫花鳥（明呂紀）〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁177。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000086N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000086N000000000')""}]}"
-1471,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1471?dep=P&mode=full,宋李迪畫花鳥　軸,"{""文物統一編號"": ""故畫000088N000000000"", ""作品號"": ""故畫00008800000"", ""品名"": ""宋李迪畫花鳥　軸\nBirds and Flowers"", ""分類"": ""繪畫"", ""作者"": ""李迪"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""112.7x38.4""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""李迪\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""河陽李迪"", ""書體"": ""隸書"", ""全文"": """", ""印記資料"": [{""印主"": ""李迪"", ""印記"": ""李迪""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""鄒一桂"", ""印記"": ""二泉""}, {""印記類別"": ""收傳印記"", ""印主"": ""鄒一桂"", ""印記"": ""鄒氏金印""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾清宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鴿"", ""主題說明"": ""白鴿""}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""月季　玫瑰　薔薇"", ""主題說明"": ""月季""}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""水仙"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""茶花"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""春景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": """", ""主題說明"": ""水鳥""}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈續編（乾清宮），第一冊，頁308"", ""故宮書畫錄（卷五），第三冊，頁78"", ""故宮書畫圖錄，第二冊，頁57-58""], ""網頁展示說明"": [""本幅作品畫月季、茶花、水仙、梅、丁香等，花蕊繁複，枝幹錯綜，空隙又以石青敷染，整幅色彩穠豔繽紛。畫幅下方畫一鴿子，呈正側面，與唐墓出土鳥類屏風表現相近，應有一古老圖式之根源。此作與院藏傳五代南唐徐熙〈玉堂富貴圖軸〉構圖雷同，尺寸一樣，可能為同一套作品。惟本幅構圖結構有不盡合理之處，從地面苔點畫法等風格看，此應該為明中期以後之的模本。李迪款為偽添。(20100710)"", ""This scroll depicts blossoms of Chinese rose, camellia, narcissus, plum, and lilac. The riot of pistils and stamens intersect with the tree branches and trunk. The spaces in between were washed in mineral blue, heightening the effect of luxuriant colors. Below is a pigeon in full profile. Similar to the depiction of birds in unearthed tomb wall panel paintings, this is probably an ancient pictorial type. The composition here is also similar to another work in the Museum collection, \""Flowers of Wealth in a Noble Home\"" attributed to the Southern Tang painter Xu Xi. The size is also the same, so they probably came from the same set. The composition here, though, does not appear to be very logical. Along with the style of ground moss dotting, it is probably a post-mid-Ming (1368-1644) model with a fake Li Di signature added.(20100710)"", ""庚申ばら、椿、水仙、梅、丁香などの花々が畫面いっぱいに描かれ、枝も複雜に交錯している。また、隙間を藍色で埋め、全体的に彩り鮮やかな印象を与えている。畫面下に描かれた真横を向いた鳩は、唐代の墳墓から出土した鳥類の屏風絵に近いことから、一定の描き方があったことをうかがわせる。本作は当博物院が所蔵する伝五代南唐の徐熙の「玉堂富貴図軸」に見られる構図ばかりでなく、サイズも同じであるため、同じ一組の作品であると思われる。ただし、本作の構図には現実にそぐわない部分があり、点畫法で描かれた地面の苔などから明代中期以降の模本であると考えられる。李迪の款識は偽款である。(20100710)""], ""參考書目"": ""1.陳昱全，〈傳趙昌〈歲朝圖〉與「舖殿花」〉，《故宮文物月刊》，第337期（2011年4月），頁48-57。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000088N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000088N000000000')""}]}"
-13952,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13952?dep=P&mode=full,宋揚无咎獨坐彈琴圖　軸,"{""文物統一編號"": ""故畫000079N000000000"", ""作品號"": ""故畫00007900000"", ""品名"": ""宋揚无咎獨坐彈琴圖　軸"", ""分類"": ""繪畫"", ""作者"": ""揚无咎"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""40x25.5""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""31.1x26.2""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}, {""質地位置"": ""詩塘"", ""質地"": ""紙""}]","[{""題跋類別"": ""題跋"", ""作者"": ""謝縉"", ""位置"": ""詩塘"", ""款識"": ""葵丘謝縉"", ""書體"": ""行楷書"", ""全文"": ""百歲詔光□息問。愛閑誰肯便投閑。年來□得林泉趣。長抱琴來忘卻還。葵丘謝縉。""}, {""題跋類別"": ""題跋"", ""作者"": ""沈度\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""華亭沈度"", ""書體"": ""行楷書"", ""全文"": ""霜落林亭木葉殷。隔溪流水瀉潺湲。放情逐客窮幽賞。一曲焦桐膝上彈。華亭沈度。"", ""印記資料"": [{""印主"": ""沈度"", ""印記"": ""沈民則""}, {""印主"": ""沈度"", ""印記"": ""求樂軒""}]}, {""題跋類別"": ""題跋"", ""作者"": """", ""位置"": ""詩塘"", ""款識"": """", ""書體"": ""草書"", ""全文"": ""（尚有古心。瓊林生詩二首。字多剝落。不堪識錄。）""}]","[{""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""子京父印""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""子京所藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""子孫世昌""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""天籟閣""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""宮保世家""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""退密""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""寄傲""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項墨林父祕笈之印（重一）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""劉氏雲陽""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""墨林子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""春景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": ""童僕""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文玩（琴棋書畫）"", ""主題說明"": ""琴""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""枴杖"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""苔點"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁72-73"", ""故宮書畫圖錄，第二冊，頁21-22""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000079N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000079N000000000')""}]}"
-918,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/918?dep=P&mode=full,宋李迪風雨歸牧　軸,"{""文物統一編號"": ""故畫000087N000000000"", ""作品號"": ""故畫00008700000"", ""品名"": ""宋李迪風雨歸牧　軸\nHomeward Oxherds in Wind and Rain"", ""分類"": ""繪畫"", ""作者"": ""李迪"", ""創作時間"": ""宋徽宗政和四年（1114）"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""120.7x102.8""}, {""位置"": ""本幅上方題跋"", ""尺寸(公分)"": ""28.9x48.5""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}, {""質地位置"": ""本幅上方題跋"", ""質地"": ""綾""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""李迪"", ""位置"": ""本幅"", ""款識"": ""甲午歲（西元一一七四年）李迪筆。"", ""書體"": ""楷書"", ""全文"": """"}, {""題跋類別"": ""題跋"", ""作者"": ""宋理宗\n印記\nexpand_more"", ""位置"": ""本幅上方裱綾"", ""款識"": ""緝熙殿書"", ""書體"": ""行書"", ""全文"": ""冒雨衝風兩牧兒。笠蓑低綰綠楊枝。深宮玉食何從得。稼穡艱難豈不知。緝熙殿書。"", ""印記資料"": [{""印主"": ""宋理宗"", ""印記"": ""御前之印""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""明官印"", ""印記"": ""司印（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""晉府書畫之印""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""晉國奎章""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""乾坤清玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋理宗"", ""印記"": ""御前之印""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""清和珍玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""敬德堂圖書印""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""道濟書府""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""雨景"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""牛"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""牧童"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""楊柳"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": ""河塘""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""服飾（對人）"", ""主題說明"": ""簑笠""}]","[{""技法"": ""工筆"", ""技法細目"": """"}]","{""內容簡介"": ""李迪，生卒年不詳。錢塘（今浙江杭州）人，為南宋孝、光、寧宗（1162－1224）畫院畫家，曾任祗侯。擅花鳥、竹石、走獸，畫風寫實清新。\r\n畫蘆岸柳堤，兩個牧童遇雨趕牛返家的情景，牛隻與人物的動態相互呼應，富戲劇張力。用淡墨暈染，在畫面上罩了一層迷濛的煙霧，表現風雨的晦暗陰沈。以中鋒為主，葉細如針，濃淡相間，繁而不亂；牛腹以墨渲染，再絲出牛毛硬挺尖細的質感，具南宋典型風格。(20101015)"", ""Description"": ""The birth and death dates of Li Di (native to Qiantang [modern Hangzhou, Zhejiang]) are unknown, but he was an artist at the Painting Academy under Emperors Xiaozong, Guangzong, and Ningzong, having once served as an Attendant (zhihou). He specialized in bird-and-flower, bamboo-and-rock, and animal subjects, his style of painting realistic and fresh.\r\n\tIn this painting by a willow bank with reeds, two oxherd boys have encountered a rainstorm and prod their oxen to return home. Oxen and figures interact in a tense and dramatic scene. Washes of light ink envelop the painting in a layer of hazy mist to suggest the darkness brought by rain clouds. Using mostly a centered brush, the artist rendered the leaves as fine as needles, alternating between light and dark for a complex yet orderly arrangement. The bellies of the oxen were washed in ink and then a very fine stiff brush applied to render the hairs as delicate as silk. This is a typical Southern Song style of painting.(20101015)"", ""參考書目"": [""何傳馨，〈宋李迪風雨歸牧　軸〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁297、389-390。"", ""1.李玉珉，〈風雨歸牧〉，收入林柏亭主編，《國寶菁華 — 書畫‧圖書文獻篇》（臺北：國立故宮博物院，2006年12月），頁203。\r\n2.李玉珉，〈帝國的回憶　國立故宮博物院瑰寶赴法展專輯一 — 李迪風雨歸牧〉，《故宮文物月刊》，第185期（1998年8月），頁38-39。\r\n3.童文娥，〈風雨歸牧〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁389-390。""], ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1480"", ""故宮書畫錄（卷五），第三冊，頁77-78"", ""故宮書畫圖錄，第二冊，頁55-56""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000087N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000087N000000000')""}]}"
-1402,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1402?dep=P&mode=full,宋林椿十全報喜　軸,"{""文物統一編號"": ""故畫000093N000000000"", ""作品號"": ""故畫00009300000"", ""品名"": ""宋林椿十全報喜　軸\nTen Perfections Bringing Joy"", ""分類"": ""繪畫"", ""作者"": ""林椿"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""173.2x97.6""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""43.6x98.3""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""林椿\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""畫院待詔林椿畫"", ""書體"": ""楷書"", ""全文"": """", ""印記資料"": [{""印主"": ""林椿"", ""印記"": ""（不辨。葫蘆印）""}]}, {""題跋類別"": ""題跋"", ""作者"": ""黃鉞\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""臣黃鉞奉勅敬書"", ""書體"": ""行楷書"", ""全文"": ""翠竹蒼松春卉妍。靈禽求友集翩翾。初韶報喜事咸治。六合四和慶十全。御題宋林椿十全報喜圖。臣黃鉞奉勅敬書。"", ""印記資料"": [{""印主"": ""黃鉞"", ""印記"": ""臣黃鉞印""}, {""印主"": ""黃鉞"", ""印記"": ""翰林供奉""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""弘瞻"", ""印記"": ""果親王府書畫之印""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""晉府書畫之印""}, {""印記類別"": ""收傳印記"", ""印主"": ""倪瓚"", ""印記"": ""清閟閣珍玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""元官印"", ""印記"": ""都省書畫之印""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""奧本恆之家藏""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""周甲延禧之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""祥瑞"", ""主題(第二層)"": """", ""主題說明"": ""十全報喜""}, {""主題類別"": ""主要主題"", ""主題(��一層)"": ""翎毛"", ""主題(第二層)"": ""喜鵲"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""月季　玫瑰　薔薇"", ""主題說明"": ""月季""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1485"", ""故宮書畫錄（卷五），第三冊，頁83"", ""故宮書畫圖錄，第二冊，頁97-98""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000093N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000093N000000000')""}]}"
-13956,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13956?dep=P&mode=full,宋蘇漢臣開泰圖　軸,"{""文物統一編號"": ""故畫000091N000000000"", ""作品號"": ""故畫00009100000"", ""品名"": ""宋蘇漢臣開泰圖　軸\nAuspicious Beginning"", ""分類"": ""繪畫"", ""作者"": ""蘇漢臣"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""99x67.5""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹本""}]","[{""題跋類別"": ""題籤"", ""作者"": ""印記\nexpand_more"", ""位置"": ""褾綾"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""宋蘇漢臣九孝圖。神品。南友主人藏。"", ""印記資料"": [{""印主"": """", ""印記"": ""南友堂""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""子孫其永寶用""}, {""印記類別"": ""收傳印記"", ""印主"": ""安岐"", ""印記"": ""安儀周家珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋犖"", ""印記"": ""宋犖鑒定""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋犖"", ""印記"": ""牧仲心賞""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""神。品""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋犖"", ""印記"": ""商丘宋犖審定真跡""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""孩童"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""羊"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": ""草""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鶺鴒"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(勻稱線條)"", ""技法細目"": """"}, {""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""苔點"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈三編（乾清宮），第一冊，頁497"", ""故宮書畫錄（卷五），第三冊，頁81"", ""故宮書畫圖錄，第二冊，頁75-76""], ""參考書目"": ""王湘文、何炎泉、陳建志，〈宋蘇漢臣開泰圖　軸〉，收入《故宮動物園》（臺北：國立故宮博物院，2019.07），頁20。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護���務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000091N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000091N000000000')""}]}"
-1412,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1412?dep=P&mode=full,宋林椿花鳥　軸,"{""文物統一編號"": ""故畫000094N000000000"", ""作品號"": ""故畫00009400000"", ""品名"": ""宋林椿花鳥　軸"", ""分類"": ""繪畫"", ""作者"": ""林椿"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""149.4x89.9""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""林椿"", ""位置"": ""本幅"", ""款識"": ""林椿"", ""書體"": """", ""全文"": """"}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""月季　玫瑰　薔薇"", ""主題說明"": ""月季""}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""碧桃花"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""斑鳩"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""雉（錦雞．雉類）"", ""主題說明"": ""山雞""}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""黃鸝"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""蒲公英"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""綠繡眼"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈初編（御書房），下冊，頁1139"", ""故宮書畫錄（卷五），第三冊，頁83-84"", ""故宮書畫圖錄，第二冊，頁99-100""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000094N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000094N000000000')""}]}"
-1356,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1356?dep=P&mode=full,宋張訓禮圍爐博古圖　軸,"{""文物統一編號"": ""故畫000095N000000000"", ""作品號"": ""故畫00009500000"", ""品名"": ""宋張訓禮圍爐博古圖　軸"", ""分類"": ""繪畫"", ""作者"": ""張訓禮"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""138x72.7""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""張敦禮"", ""位置"": ""本幅"", ""款識"": ""張敦禮製"", ""書體"": ""楷書"", ""全文"": """"}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""甲午新正上澣御題"", ""書體"": ""行書"", ""全文"": ""訓禮易敦禮。二人非一人。相如似有慕。欲訝孰為真。古器玩三代。閒庭聚四賓。朱欄干曲畔。梅信正含春。甲午新正上澣御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""��記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮續入石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂鑒藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""經史‧故事"", ""主題(第二層)"": """", ""主題說明"": ""博古圖""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""庭院"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文房用具"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文玩（琴棋書畫）"", ""主題說明"": ""畫""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""花器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""柏"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(勻稱線條)"", ""技法細目"": """"}, {""技法"": ""界畫"", ""技法細目"": """"}]","{""內容簡介"": ""庭中松樹挺立，梅花盛開。屏風前三文士圍束腰長桌而坐，其中二文士坐於榻上，榻下壺門開光，一觀畫，一盥手回首；靠背扶手椅上文士手作研磨狀，似為點茶備茶。一文士園中踱步吟詩。\r\n張訓禮，南宋光宗朝（西元一一九O－一一九四年）人。畫雖舊名圍爐博古，然畫中構圖、母題與世傳十八學士圖相類。唐太宗收聘賢才，以杜如晦、房玄齡等十八人並為學士。命閻立本圖像，褚亮為贊，號十八學士。"", ""Description"": ""Two trees stand tall in a courtyard with a plum tree in full bloom. In front of the screen are three scholar-gentlemen sitting around a waisted table, as two sit on a daybed with openings. One views a painting and the other washes his hands. The scholar sitting on an armchair with a backrest is grinding what appears to be tea. Another is in the garden walking and reciting poetry. Despite the traditional title, the composition and motifs here are similar to surviving works on the Eighteen Scholars. The T’ang emperor T’ai-tsung gathered 18 eminent scholars, including Tu Ju-huei and Fang Hsuan-ling, as Academicians. He ordered Yen Li-pen to paint their portraits and Chu Liang to compose eulogies, becoming the famous Eighteen Scholars."", ""參考書目"": ""林莉娜；〈關於明人十八學士圖之考析〉，《故宮文物月刊》，第356期（2012年11月份），頁72-87。"", ""收藏著錄"": [""石渠寶笈續編（寧壽宮），第五冊，頁2718"", ""故宮書畫錄（卷五），第三冊，頁84"", ""故宮書畫圖錄，第二冊，頁101-102""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000095N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000095N000000000')""}]}"
-14349,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14349?dep=P&mode=full,宋劉松年絲綸圖　軸,"{""文物統一編號"": ""故畫000098N000000000"", ""作品號"": ""故畫00009800000"", ""品名"": ""宋劉松年絲綸圖　軸\nSpinning Silk"", ""分類"": ""繪畫"", ""作者"": ""劉松年"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""98.9x33.2""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""劉松年"", ""位置"": ""本幅（松上）"", ""款識"": ""松年"", ""書體"": ""楷書"", ""全文"": """"}, {""題跋類別"": ""題跋"", ""作者"": ""汪砢玉\n印記\nexpand_more"", ""位置"": ""左方褾綾"", ""款識"": ""檇李汪砢玉源崑甫。題於韻石齋。"", ""書體"": ""行書"", ""全文"": ""長松覆前。遠山聳後。庭檻綴花石殊幽曠。簷間一姬拗輪。一媮治絲。一侍兒捧茶。不襦而露纖紅。故北妝也。筆法細潤有生氣。標題作馬遠。萬曆壬子秋。余在白下得之潤州吳汝廷。歷三十餘年。無有知其非遠者。今崇禎壬午(1642)秋付裝潢。淵兒於松身識其款曰松年。蠅頭小楷。雜鱗紋墨漬間。不復可辨。有如當時稱之為暗門劉者。今一旦豁然。恍睹其人。可勝撫掌稱快。檇李汪砢玉源崑甫。題於韻石齋。鈐印二。玉水。砢玉之印。"", ""印記資料"": [{""印主"": ""汪砢玉"", ""印記"": ""砢玉之印""}, {""印主"": ""汪砢玉"", ""印記"": ""玉水""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""□功""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""石菴鑑賞之印""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""冰霞閣""}, {""印記類別"": ""收傳印記"", ""印主"": ""汪砢玉"", ""印記"": ""汪氏珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""忠魁士裔""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""神品""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""愛荊私記""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""鼎揆""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""趙氏珍藏""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""仕女"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""庭院"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""耕織漁獵"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}, {""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""劉松年（約西元1190至1230年前後）浙江錢塘人，居清波門，俗呼劉清波，又稱暗門劉。為南宋孝宗淳熙畫院學生，紹熙年待詔。工畫人物山水，師法張敦禮，神氣清妙，名過於師。此畫山家婦媼拗輪治絲情景。人物用筆細勁，著色淡雅，畫經明汪砢玉收藏題識，鑑定為劉真蹟。"", ""Description"": ""Liu Sung-nien, a native of Ch'ien-t'ang, Chekiang, lived at Ch'ing-po-men and so acquired the names of Liu Ch'ing-po and An-men Liu. He was a student in the Painting Academy during the riegn of Hsiao-tsung (1174-1189), and later served as a Painter-in-Attendance in the Shao-hsi reign period (1190-1195). He learned the art of painting landscapes and figures from Chang Tun-li. Liu's paintings often are said to have a pure and exquisite spirit, and his fame surpassed that of his master. This painting depicts a moutain dwelling and old women spinning silk; Liu has described the figures with a detailed yet forceful line and muted yet elegant colors. The Ming collector, Wang ke-yu, inscribed a colophon attesting to its authenticity."", ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1500"", ""故宮書畫錄（卷五），第三冊，頁87-88"", ""明汪砢玉珊瑚網"", ""故宮書畫圖錄，第二���，頁119-120""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000098N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000098N000000000')""}]}"
-72,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/72?dep=P&mode=full,宋劉松年畫羅漢　軸,"{""文物統一編號"": ""故畫000099N000000000"", ""作品號"": ""故畫00009900000"", ""品名"": ""宋劉松年畫羅漢　軸\nLohan"", ""分類"": ""繪畫"", ""作者"": ""劉松年"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""117x55.8""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""劉松年"", ""位置"": ""本幅"", ""款識"": ""開禧丁卯（西元一二０七年）劉松年畫"", ""書體"": ""楷書"", ""全文"": """"}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""倚菩提樹。俯視伊尼。如示妙偈。知乎不知。樹頭結果。其果纍垂。猨猴登樹。摘果以嬉。童子攓袂。仰而承之。有色有象。無意無為。細入毫髮。匪夷所思。金剛四句。一幅全披。合掌欲詢。應真伊誰。辛卯辛正御贊。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""比德""}, {""印主"": ""清高宗"", ""印記"": ""朗潤""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""南宋內府印"", ""印記"": ""內府書畫""}, {""印記類別"": ""收傳印記"", ""印主"": ""祥哥剌吉"", ""印記"": ""皇姊圖書""}, {""印記類別"": ""收傳印記"", ""印主"": ""明官印"", ""印記"": ""禮部評驗書畫關防（半印）""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""太上皇帝""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾清宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""羅漢（應真、尊者）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""佛道侍者"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""鹿"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""猿"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""桃花"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": ""桫欏樹""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(勻稱線條)"", ""技法細目"": """"}]","{""內容簡介"": [""劉松年（活動於1174-1224），錢塘（今浙江杭州）人，淳熙畫院學生，紹熙年間任待詔。寧宗時因進〈耕織圖〉稱旨，賜金帶。與李唐、馬遠和夏圭合稱為「南宋四大家」。\r\n此軸畫一羅漢龐眉大鼻，身著右袒式袈裟，顯為梵僧。祂雙眸凝視，若有所思，隨侍的小沙彌以衣袂承接長臂猿所摘的石榴，足前雙鹿仰頭而望。全作敷色妍麗，繪製精謹。羅漢頭後的圓光及樹枝交疊掩映，層次分明，繁縟精美，更臻絕妙。(20101015)"", ""劉松年（西元十二世紀末期至十三世紀初期）淳熙畫院學生，紹熙年待詔。錢塘人，居清波門外，人呼劉清波，又��暗門劉。山水人物師張敦禮，而神氣清妙，時稱絕品。 劉松年同時所畫羅漢共三幅，此為其中之一幅。畫者倚桫欏樹，上有通臂猿摘石榴，一童持杖，以袂承果。用筆傅彩，皆極精妙，尤以佛頂圓光，及三樹枝柯掩映，繁縟精美，皆臻絕妙。羅漢在早期佛教?，是獨善其身的修行者，大乘佛教興起後，逐漸具備渡化眾生的菩薩特質。本幅畫一羅漢，濃眉高鼻，倚桫欏樹沉思，身側一小和尚以衣袖承接樹上長臂猿所摘之石榴，羅漢的袈裟圖案以泥金描繪，透過他頭後的圓光，尚能看見樹枝掩映，足見畫家功力。斑駁的樹幹和湖石表面，呼應著羅漢佈滿皺紋的面容。 尊者倚桫欏樹。上有通臂猿摘桃，一行童持杖，以袂承之。雙鹿馴遊。款「開禧丁卯（一二○七）劉松年畫」。有「內府書畫」「皇姊圖書」印。按「內府書畫印」凡六見：一見於唐盧楞伽十八羅漢冊（見喜龍仁中國畫第三冊圖八九下），一見於北宋趙令穰橙黃橘綠冊（見本書圖七○）；一見於宋高宗書紈扇（為趙令穰橙黃橘綠冊對幅，未印）；另三印即見於此三幅羅漢像中。盧楞伽羅漢冊，「內府書書」印鈐於左上角，「皇姊圖書」印鈐於右上角；趙令穰畫及宋高宗書，因係圓幅，「內府書畫」印皆鈐於正中上方。亦無「皇姊圖書」印。此三幅羅漢像，「內府書畫」印，皆鈐於左上方。而「皇姊圖書」印，第一幅鈐於左上方，在「內府書畫」印之下；第二、三兩幅，則鈐於右上方。據此，則知「內府書畫」印，鈐蓋有定位，而「皇姊圖書」印無定位。亦即證知「內府書畫」印在「皇姊圖書」印之前。故「內府書畫」印在時間上之上限為開禧丁卯（一二○七），下限為元貞乙未（一二九五），極可能為宋寧宗收藏印。""], ""Description"": [""Liu Sung-nien, a native of Chekiang, was a student in the Painting Academy and later served as Painter-in-Attendance during the Shao-hsi reign period(1190-1195). He lived outside the Ch’ing-po gate so people called him Liu Ch’ing-po. He was also called An-men-liu. He learned the art of painting landscapes and figures from Chang Tun-li. Liu’s paintings often are said to have a pure and exquisite spirit and at the time they were considered second-to-none. This is one of three Lohan paintings by this artist, all dated 1207, in the Palace Museum. This picture depicts a lohan leaning against a so-lo tree. Above him long-armed monkeys are picking pomegranates and passing them down to a youth with a long staff, who collects them in his coat. Two deer stand tamely at his feet. The handling of the brush and the use of colour in this work are very fine;especially in the lohan’s halo and the beautifully intricate branches of the trees. 　　──The first of these three hanging scrolls depicts a Buddhist sage, or lohan, leaning on a branch of a sala tree. Above him a monkey holds a peach in its outstretched arms; a boy holding a staff prepares to receive it. A pair of tame deer stand in the foreground. The painting is signed “In the ting-mao year of K’ai-hsi(1207), painted by Liu Sung-nien.” In the second painting --The lohan sits holding a staff. A priest questions him about the meaning of a sutra scroll. All three scrolls bear the seals “Nei Fu Shu Hua” and “Huang Chieh T’u Shu”. The seal “Nei Fu Shu Hua” appears on six paintings: “Eighteen Lohans” by Lu Leng-chia of the T’ang (see Hsi Lung-jen, Chung-kuo hua, Vo1. Ⅱ, pl. 89b), “Orange Groves in Bloom” by Chao Ling-jang of the Northern Sung (see No. 70), a round fan of calligraphy by the Sung emperor Kao-tsung(the facing leaf to Chao Ling-jang’s painting; unpublished), and the three paintings by Liu Sung-nien now under discussion."", ""Liu Songnian was a native of Qiantang (modern Hangzhou, Zhejiang) who served in the Chunxi era as a Student (xuesheng) in the Painting Academy and also as a Painter-in-Attendance during the Shaoxi era. During the reign of Ningzong, he submitted the painting of “Illustrations of Agriculture and Sericulture,” being summoned by the emperor and receiving the prestigious Golden Belt. Along with Li Tang, Ma Yuan, and Xia Gui, he is known as one of the “Four Southern Song Masters.”\r\n\tThis scroll depicts a Buddhist lohan (arhat) with bushy eyebrows and a large nose. He wears a monk’s robe exposing the right shoulder, indicating his status as an Indian monk. Staring out in contemplation, he appears as if in deep thought. The novice monk in attendance uses the sleeve of his robe to receive the pomegranate that a gibbon has picked, and in front of the lohan are two deer looking upwards. The coloring throughout is beautiful and the rendering meticulous. The halo behind the lohan’s head and the veiled interlocking branches are rendering with distinct layering. Complex yet delicate, this is a truly exquisite work.(20101015)""], ""參考書��"": [""何傳馨，〈宋劉松年畫羅漢　軸〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁246-247、375。"", ""國立故宮博物院編輯委員會，〈宋劉松年畫羅漢　軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁112-113。"", ""1.李玉珉，〈宋劉松年畫羅漢〉，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112-113。\r\n2.李玉珉，〈宋劉松年畫羅漢〉，收入李玉珉主編，《羅漢畫》（臺北：國立故宮博物院，1990年初版），頁74-75。\r\n3.李玉珉，〈宋劉松年畫羅漢〉，《故宮文物月刊》，第100期（1991年7月），頁75。\r\n4.《劉松年畫羅漢》（台北：國立故宮博物院，1980）。\r\n5.楊美莉，《劉松年畫羅漢三軸之研究－兼論宋人之羅漢信仰－》，國立台灣大學歷史學研究所中國藝術史組碩士論文，1982年。\r\n6.梁婷育，《劉松年《羅漢》三軸畫史意義之研究─兼論其宗教意涵與圖像表現》，南華大學美學與藝術管理研究所碩士論文，2007年。\r\n7.李玉珉，〈畫羅漢〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁375。\r\n8.吳誦芬；〈明宣宗戲猿圖軸介紹〉，《故宮文物月刊》，第351期（2012年6月份），頁106-113。""], ""收藏著錄"": [""秘殿珠林續編（乾清宮），頁76"", ""故宮書畫錄（卷五），第三冊，頁88-89"", ""故宮書畫圖錄，第二冊，頁103-104""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000099N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000099N000000000')""}]}"
-13957,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13957?dep=P&mode=full,宋劉松年溪亭客話圖　軸,"{""文物統一編號"": ""故畫000096N000000000"", ""作品號"": ""故畫00009600000"", ""品名"": ""宋劉松年溪亭客話圖　軸"", ""分類"": ""繪畫"", ""作者"": ""劉松年"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""119.8x58.5""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""劉松年"", ""位置"": ""本幅"", ""款識"": ""劉松年"", ""書體"": ""楷書"", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""士興記事""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""僕氏仲溫松月堂印""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蒼巖""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""燕山張氏珍玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蕉林居士""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蕉林書屋""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑑藏寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""桃花"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""水榭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主��(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文房用具"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文玩（琴棋書畫）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""花器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""香爐．火盆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}, {""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": ""溪流潺潺，松風飂飂，有亭臨水，主客在亭中展讀閒談。山皴、松針、屋界之用筆，莫不挺勁精謹，通幅景致宜人，氣韻祥和。\r\n\r\n此幅舊傳劉松年所繪，然樹石筆墨皆近於明代。按劉松年（約西元一一九○—一二三○年前後），浙江錢塘人。南宋孝宗淳熙年間畫院學生，紹熙年待詔。山水、人物師法張敦禮（十一—十二世紀間），神氣精妙，名過其師。"", ""Description"": ""In this painting, the sounds of the wind whistling through the pines and the flowing stream are almost audible. A pavilion appears overlooking the water, and a host and his guests sit chatting inside. The texture strokes of the mountains, pines, and buildings were painted with force and not a single lax stroke. The interaction between the vastness of nature and delights of man create a peaceful and harmonious mood in this work.\r\n\r\nThis painting has been traditionally attributed to Liu Sung-nien, but the brushwork of the pines and rocks are more similar to those of Ming dynasty (l368-l644) artists. Liu Sung-nien served as a court painter and was gifted at landscapes and figures, known for his pure and exquisite style."", ""收藏著錄"": [""石渠寶笈初編（養心殿），上冊，頁659"", ""故宮書畫錄（卷五），第三冊，頁84-85"", ""故宮書畫圖錄，第二冊，頁113-114""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000096N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000096N000000000')""}]}"
-939,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/939?dep=P&mode=full,宋劉松年補衲圖　軸,"{""文物統一編號"": ""故畫000102N000000000"", ""作品號"": ""故畫00010200000"", ""品名"": ""宋劉松年補衲圖　軸\nMending a Cassock"", ""分類"": ""繪畫"", ""作者"": ""劉松年"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""141.9x59.8""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""劉松年\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""畫院待詔賜金帶劉松年敬繪。"", ""書體"": """", ""全文"": """", ""印記資料"": [{""印主"": ""劉松年"", ""印記"": ""劉松年印""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""應真閒理線和鐵。慈氏以來補到今。我偶觀圖别有會。仲山衮職念常欽。戊子（西元1768年）新正月御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""元明善印""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""吉安吳氏珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""審定真跡""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""太上皇帝之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾清宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""佛道侍者"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""羅漢（應真、尊者）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""僧（和尚、尼姑）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""狗"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""茶花"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": """", ""主題說明"": ""茶具""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": ""屏風；坐榻""}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}, {""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""界畫"", ""技法細目"": """"}]","{""內容簡介"": ""本幅畫兩名僧人坐於禪榻上，老者正潛心補衣，另一人則抱膝旁觀。屏後，復有侍者二人，佇立捻茶。畫中人物，表情鮮活而自然，衣紋用筆亦流暢有力。惟右下方款署之「畫院待詔賜金帶劉松年敬贈」，及鈐「劉松年印」，疑偽。\r\n\r\n劉松年（活動於1174-1224），浙江錢塘人，南宋孝宗淳熙間（1174─1189）延入畫院，紹熙間（1190-1194）升為待詔。存世作品以「畫羅漢」三軸最具代表性。若與「補納圖」相較，風格互異，故本幅應係元以後畫家託名而作。"", ""Description"": ""In this painting, two monks are seated on a meditation platform. The elder is concentrating on mending a cassock while the other sits cross-legged next to him and observes. To the side behind them are two figures grinding and preparing tea. The expressions of the figures here are fresh and natural, while the brushstrokes defining the drapery lines are fluent yet powerful. Nonetheless, the signature in the lower left corner (“Respectfully painted by the Painter-in-Attendance and Gold Belt Recipient of the Painting Academy , Liu Sung-nien”) and the seal (“Seal of Liu Sung-nien”) appear dubious.\r\n\r\nLiu Sung-nien was a native of Ch'ien-t'ang , Chekiang , who entered the painting academy during the Ch'un-hsi era (1174-1189) of Emperor Hsiao-tsung. In the Shao-his era (1190-1194), he was promoted to Painter-in-Attendance. The works most representative of his style that survive today are three lohan paintings in the National Palace Museum. The style of this painting, in comparison, appears somewhat different from them. It is probably a work from the Yuan dynasty (1279-1368) or later with an interpolated signature of Liu Sung-nien."", ""收藏著錄"": [""秘殿珠林續編（乾清宮），頁77"", ""故宮書畫錄（卷五），第三冊，頁89"", ""故宮書畫圖錄，第二冊，頁121-122""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000102N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000102N000000000')""}]}"
-14346,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14346?dep=P&mode=full,宋劉松年醉僧圖　軸,"{""文物統一編號"": ""故畫000103N000000000"", ""作品號"": ""故畫00010300000"", ""品名"": ""宋劉松年醉僧圖　軸\nThe Drunken Monk"", ""分類"": ""繪畫"", ""作者"": ""劉松年"", ""創作時間"": ""宋寧宗嘉定2年（1210）"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""95.8x47.8""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""劉松年"", ""位置"": ""本幅（坡石上）"", ""款識"": ""嘉定庚午（西元一二一○年）劉松年畫"", ""書體"": ""楷書"", ""全文"": """"}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""長松之下坐頹仙。草聖揮看落紙煙。生面別開神髓合。石渠聯璧有龍眠。乙未仲春中澣御題。""}, {""題跋類別"": ""題跋"", ""作者"": """", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""人人送酒不曾沽。每日松間挂一壺。草聖欲來狂便發。真堪畫作醉僧圖。""}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（一印不可辨）""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""公""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""安及忠印""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""宜爾子孫""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""信公珍賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""珍秘""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""真賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿嘉祚"", ""印記"": ""耿會侯鑑定書畫之章""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""都尉耿信公書畫之印""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""琴書堂""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""耿昭忠"", ""印記"": ""丹誠""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""僧（和尚、尼姑）"", ""主題說明"": ""懷素""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文房用具"", ""主題說明"": ""筆墨紙硯""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": [""劉松年（西元1190至1230年前後）浙江錢塘人，居清波門外，因此別人稱他為劉清波，又呼暗門劉。為南宋孝宗淳熙年畫院學生，紹熙年待詔，善畫人物山水，師法張敦禮，神氣精妙，青出於藍。畫松樹幹上繫一葫蘆。一童子替僧人伸紙。一童捧硯台。一僧人袒肩坐在石上寫字。署款、嘉定庚午劉松年畫，寫於坡石上。全幅畫人物神情、樹幹、小草都充滿了古樸自然的趣味。"", ""一僧人袒肩坐在石上寫字；旁一童子幫忙伸紙一童捧硯台，松樹幹上繫一葫蘆。唐僧懷素，以草書名天下，醉後狂草縱橫不羈，本幅應是描繪懷素醉後揮毫情景。近景坡石上有「嘉定庚午（西元一二一0）劉松年畫」署款，劉松年為南宋孝宗、寧宗時畫院畫家，善畫人物山水。本幅近景坡石下繪人物，線條細勁，衣紋轉折方折，風格與院藏劉松年名作〈畫羅漢〉相類，唯不若精謹細緻，成畫年代應較晚。""], ""Description"": [""A monk with his shoulder exposed sits on a stone and writes with a brush. An attendant holds the scroll as the other grinds ink. His gourd is tied to the trunk of the pine. The Tang monk Huaisu was renowned for cursive script, and when drunk would do unbridled wild cursive. Thus, this work might depict him wielding the brush when drunk. The area in front is inscribed, “Painted by Liu Songnian in the gengwu year of Jiading (1210).” Liu was a Painter-in-Attendance at the Painting Academy under Emperors Xiaozong and Ningzong, and he excelled at figures and landscapes. The figure lines here are fine and taut, while those for the drapery are angular, similar to the Museum’s “Lohan” paintings by Liu, but not quite as fine, suggesting a slightly later date."", ""A monk, in his monastic garment with one shoulder bare, sits on a rock doing calligrarhy. From the trunk of a pine tree hangs a bottle gourd. A servant spreads his writing paper, while another holds his ink stone. A rocky bank is inscribed with the painter's signature and the date 1210. All the figures are painted with great spirit; the tree trunks and grasses are replete with an antique simplicity and a naturalistic flavor. Liu Sung-nien, came from Ch'ien-t'ang in Chekiang. He lived outside the Ch'ing-po Gate of Hangchow, and was therefor called \""Liu of Ch'ing-po\"" and \"" Liu of the Dark Gate.\"" Durung the Ch'un-hsi era (1174-1189) of the reign of the Southern Sung emperor Hsiao-tsung, he was a student in the Imperial Academy of Painting, and he served as a Painter-in-Attendance during the period 1190-1195. He was an excellent painter of landscapes and figures, which he learned from Chang Tun-li.The exquisite spirit of Liu's paintings eventually surpassed that of his mentor.""], ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1501"", ""故宮書畫錄（卷五），第三冊，頁89-90"", ""墨緣匯觀"", ""故宮書畫圖錄，第二冊，頁109-110""], ""參考書目"": ""1.李霖燦，〈劉松年的攆茶圖與醉僧圖〉，《故宮文物月刊》，第23期（1985年2月），頁69-71。\r\n2.李霖燦，〈劉松年的醉僧圖〉，《故宮季刊》，第四卷第一期（1969年7月），頁31-39。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000103N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000103N000000000')""}]}"
-1354,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1354?dep=P&mode=full,宋蘇漢臣秋庭戲嬰圖　軸,"{""文物統一編號"": ""故畫000089N000000000"", ""作品號"": ""故畫00008900000"", ""品名"": ""宋蘇漢臣秋庭戲嬰圖　軸\nChildren Playing in a Garden in Autumn"", ""分類"": ""繪畫"", ""作者"": ""蘇漢臣"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""60.3x74.4""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""蘇漢臣"", ""位置"": ""本幅(石間)"", ""款識"": ""漢臣"", ""書體"": ""楷書"", ""全文"": """"}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""孩童"", ""主題說明"": ""三人""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""秋景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""庭院"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""草蟲"", ""主題(第二層)"": ""蟋蟀"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""童玩"", ""主題說明"": ""蟋蟀罐""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""梧桐"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}]","{""內容簡介"": ""蘇漢臣(約西元十二世紀)，河南開封人。曾任宣和畫院待詔，北宋亡於金後，南宋紹興年間又進畫院復職。師劉宗古，工畫道釋、人物臻妙，尤善嬰孩。本幅繪桐蔭蔽日，三童子聚集於樹底消暑，中一人持細棒鬥促織為戲，旁二人亦喜亦懼，欲試又止，情態異常逗人，惟人物比例暨衣飾敷染稍嫌板刻，疑為後代畫家託名之作。"", ""Description"": ""Su Han-ch'en was a native of K'ai-feng, Honan. He was employed as a Painter-in-Attendance at the Painting Academy during the Hsuan-ho reign of the Northern Sung (1119-1125). After the Northern Sung fell to the Chin, he fled south and was reemployed in his old position at the Southern Sung court during the Shao-hsing reign (1131-1162). Su Han-ch'en studied with Liu Tsung-ku. He excelled as a figure painter, especially of religious subjects and children. Three children gather under the shade of a spreading firmania tree, enjoying the refreshing shade. One child uses a thin staff to toy with a cricket. Two children to the side look both excited and frightened, wanting to join in, but a little hesitant. The expressions of the children are vividly portrayed, but the clothes are painted rather stiffly. This may be the work of a later artist, with Su Han-ch'en's name added for prestige."", ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁79-80"", ""故宮書畫圖錄，第二冊，頁69-70""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000089N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000089N000000000')""}]}"
-14347,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14347?dep=P&mode=full,宋劉松年蓬壺仙侶圖　軸,"{""文物統一編號"": ""故畫000097N000000000"", ""作品號"": ""故畫00009700000"", ""品名"": ""宋劉松年蓬壺仙侶圖　軸"", ""分類"": ""繪畫"", ""作者"": ""劉松年"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""159.4x99.6""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""37.2x100.4""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""閣擬蓬壺處。人應佺羨行。或來欲談者。蓄問趣方長。丹鼎無須設。仙詮有各蔵。笑他塵世裡。漢武及秦皇。戊午仲夏御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""太上皇帝寶""}, {""印主"": ""清高宗"", ""印記"": ""歸政仍訓政""}]}, {""題跋類別"": ""題籤"", ""作者"": ""王世貞\n印記\nexpand_more"", ""位置"": ""舊題籤"", ""款識"": """", ""書體"": """", ""全文"": ""劉松年真筆。王世貞鑒定。"", ""印記資料"": [{""印主"": ""王世貞"", ""印記"": ""元美""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""五福五代堂古稀天子寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""太上皇帝之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""樵夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""日景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": ""驢""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""蘆葦"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鶴"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文房用具"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""耕織漁獵"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""界畫"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1499"", ""故宮書畫錄（卷五），第三冊，頁85"", ""故宮書畫圖錄，第二冊，頁115-116""], ""參考書目"": [""1.〈傳宋劉松年蓬壺仙侶圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁175。"", ""邱士華，〈宋劉松年蓬壺仙侶圖　軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁210-211。""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000097N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000097N000000000')""}]}"
-13960,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13960?dep=P&mode=full,宋馬遠秋浦歸漁圖　軸,"{""文物統一編號"": ""故畫000110N000000000"", ""作品號"": ""故畫00011000000"", ""品名"": ""宋馬遠秋浦歸漁圖　軸"", ""分類"": ""繪畫"", ""作者"": ""馬遠"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""123.6x63.2""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""馬遠\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""馬遠"", ""書體"": ""行楷書"", ""全文"": """", ""印記資料"": [{""印主"": ""馬遠"", ""印記"": ""馬遠""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""丁亥（西元一七六七年）仲秋月御題"", ""書體"": ""行書"", ""全文"": ""歸舟那繫荻蘆叢。攫取笭箵滿不空。底識箇翁閒逸趣。鬢絲飄散鯉魚風。丁亥（西元一七六七年）仲秋月御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""秋景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""漁船"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""籃．簍．籮筐"", ""主題說明"": ""簍""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(減筆)"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""斧劈��""}, {""技法"": ""寫意"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈續編（養心殿），第二冊，頁960"", ""故宮書畫錄（卷五），第三冊，頁93-94"", ""故宮書畫圖錄，第二冊，頁153-154""], ""參考書目"": ""1.〈傳宋馬遠秋浦歸漁圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁187。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000110N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000110N000000000')""}]}"
-1219,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1219?dep=P&mode=full,宋李嵩聽阮圖　軸,"{""文物統一編號"": ""故畫000106N000000000"", ""作品號"": ""故畫00010600000"", ""品名"": ""宋李嵩聽阮圖　軸\nListening to a Ruan Lute"", ""分類"": ""繪畫"", ""作者"": ""李嵩"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""177.5x104.5""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""李嵩\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""李嵩"", ""書體"": ""楷書"", ""全文"": """", ""印記資料"": [{""印主"": ""李嵩"", ""印記"": ""錢塘李嵩印章""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑒賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""仕女"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""剪秋羅、石竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""庭院"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文房用具"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""花器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""樂器"", ""主題說明"": ""阮咸""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""芭蕉"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈三編（乾清宮），第一冊，頁500"", ""故宮書畫錄（卷五），第三冊，頁91"", ""故宮書畫圖錄，第二冊，頁139-140""], ""參考書目"": [""1.劉芳如，〈明人聽阮圖（舊傳宋李嵩）〉，收入劉芳如、張華芝主編，《群芳譜 — 女性的形象與才藝》（臺北：國立故宮博物院，2003年初版一刷），頁47。\r\n2.劉芳如，〈宋李嵩聽阮圖〉，收入國立故宮博物院編輯委員會編，《仕女畫之美》（臺北：國立故宮博物院，1988年四月初版），頁79。\r\n3.本社，〈宋李嵩聽阮圖〉，《故宮文物月刊》，第62期（1988年5月），封底裡。"", ""劉芳如，〈宋李嵩聽阮圖　軸〉，收入劉芳如主編《她-女性形象與才藝》（臺北：國立故宮博物院，2020.10），頁56-59、250。"", ""〈宋李嵩聽阮圖　軸〉，收入國立故宮博物院編輯委員會、林莉娜主編《畫中家具特展》（臺北：國立故宮博物院，1996.10），頁38-39、116。""], ""網頁展示說明"": [""畫面由前景向右延展之樹木圈圍出一文士坐於床榻上，手持拂塵，傾聽女子撥阮演奏，樹葉顫抖窸縮的表現彷彿再現了音樂迴響之感。四周仕女或焚香、或揮扇、或簪花，配合桌上的古琴與古玩，呈現一派文人生活的風雅。本幅的構圖與人物造型皆與唐寅〈陶穀贈詞圖〉相近，惟筆法更為緊湊老練，細節極為接近院藏杜堇〈玩古圖〉，或即為杜堇或同時人之作。李嵩款為添偽。(20100710)"", ""The composition goes from the foreground to the right. A scholar under a tree sits on a daybed with a flywhisk and listens to a lady play a ruan lute. The quivering, trembling quality of foliage also seems to echo the feeling of music. Three other ladies prepare incense, hold a fan, and wear pins in their hair. Complemented by an archaic zither and curios here, it reveals the elegant life of a traditional literatus. The composition and figures are similar to \""Tao Gu Presenting a Verse\"" by Tang Yin in the Museum collection, except that the brushwork here is more terse and mature, being closer instead to the Museum's \""Appreciating Antiquities\"" by Du Jin (fl. ca. 1465-1505), suggesting that this may have actually been done by Du as well. The Li Song signature is a later addition.(20100710)"", ""前景から右へ伸びた樹木が寢台に座る文士を囲むように描かれ、文士は手に払子を持ち、女性の奏でる月琴の音色に耳を傾けている。木の葉が小刻みに震えたような描畫表現は、まるで音楽の響きを再現しているかのうようである。周りの仕女はある者は香を焚き、ある者は団扇を扇ぎ、またある者は花を髪に插し、卓上の古琴と骨董と合わせ、風雅な文人生活が描き出されている。本作の構図と人物の造型は、唐寅の「陶穀贈詞図」とよく似ているが、筆法は緻密で老練であり、細部に至っては当博物院が所蔵する杜堇の「玩古図」に近く、杜堇またはその時代の畫家による作品と思われる。李嵩の款識は偽款。(20100710)""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000106N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000106N000000000')""}]}"
-13962,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13962?dep=P&mode=full,宋馬遠畫秋江漁隱　軸,"{""文物統一編號"": ""故畫000112N000000000"", ""作品號"": ""故畫00011200000"", ""品名"": ""宋馬遠畫秋江漁隱　軸"", ""分類"": ""繪畫"", ""作者"": ""馬遠"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""37x29""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""辛卯（西元一七一一年）秋御題。"", ""書體"": ""行書"", ""全文"": ""月落江天罷釣魚。倚榔坐睡夢華胥。蘆叢何必扁舟繫。波漾風吹任所如。辛卯（西元一七一一年）秋御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""古香""}, {""印主"": ""清高宗"", ""印記"": ""太璞""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""楊溥"", ""印記"": ""直內閣太常寺卿""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""珍秘（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項子京家珍藏""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮續入石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""秋景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""篷舟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""耕織漁獵"", ""主題說明"": ""釣魚桿""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""槳、篙"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈續編（寧壽宮），第五冊，頁2718"", ""故宮書畫錄（卷五），第三冊，頁94-95"", ""故宮書畫圖錄，第二冊，頁157-158""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000112N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000112N000000000')""}]}"
-13961,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13961?dep=P&mode=full,宋馬遠板橋踏雪圖　軸,"{""文物統一編號"": ""故畫000111N000000000"", ""作品號"": ""故畫00011100000"", ""品名"": ""宋馬遠板橋踏雪圖　軸\nStepping in Snow on a Plank Bridge"", ""分類"": ""繪畫"", ""作者"": ""馬遠,Ma Yuan"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""99x59.1""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""25.4x59.4""}, {""位置"": ""全幅"", ""尺寸(公分)"": ""268x79""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""馬遠"", ""位置"": ""本幅"", ""款識"": ""河中馬遠"", ""書體"": ""篆書"", ""全文"": """"}, {""題跋類別"": ""題跋"", ""作者"": ""巴顏布哈\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""巴顏布哈（舊作伯顏不花）"", ""書體"": ""楷書"", ""全文"": ""寒威猛烈肌成粟。山深巖峻路盤曲。流泉欲凍冰作聲。板橋斜擱支枯木。閒吟欲比孟襄陽。踏雪蹴破藍田玉。余得此遙父真蹟。為生平最快意事。賦詩紀興。巴顏布哈。（舊作伯顏不花）。"", ""印記資料"": [{""印主"": ""巴顏布哈"", ""印記"": ""伯顏不花""}, {""印主"": ""巴顏布哈"", ""印記"": ""江東廉訪副使""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""甲辰（西元一七八四年）清和。用幀中巴顏布哈題什韻。"", ""書體"": ""行書"", ""全文"": ""天雨六霙可為粟。積素滿巖溪繞曲。河中寫出浩然趣。略彴踏過深見木。題者能畫復能詩。蒙古豈無人中玉。甲辰（西元一七八四年）清和。用幀中巴顏布哈題什韻。御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印主"": ""清高宗"", ""印記"": ""猶日孜孜""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""造化為師。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""古希天子""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""古謙""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類���"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""重華宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}]","{""內容簡介"": ""馬遠（活動於西元一一九○─一二二四年），山西河中人。字欽山，南宋光宗、寧宗兩朝畫院待詔，父世榮、祖父興祖、子麟皆善畫。山水、人物、花鳥，種種臻妙。山水尤能自樹一幟，與夏圭齊名，時稱馬夏。\r\n    深山幽谷，一人率琴童踏雪訪梅。畫石用勁銳之斧劈皴，畫樹線條亦蒼勁有力，樹枝時有垂下者，特具瀟洒之筆趣，名為「拖枝馬遠」，為馬遠用筆之特色。"", ""Description"": ""Ma Yuan’s family hailed from Shansi. His father, grandfather and son were all well-known as professional painters. Ma Yuan served the courts of Kuang-tsung and Ning-tsung of the Southern Sung, and he achieved great fame for his paintings in each genre. He is especially known for his landscapes and is commonly associated with his contemporary Hsia Kuei (f1.1195-1224).\r\n\tIn a valley deep in the mountains, a scholar and his ch’in-carrying servant step through the snow in search of plum blossoms. Rocks are described with sharp ax-cut texture strokes, and the trees are formed with powerful, hoary lines. The long, extended branches that hang down are a hallmark of Ma Yuan’s style, and they add spirit and elegance to the painting."", ""參考書目"": ""邱士華，〈宋馬遠板橋踏雪圖　軸〉，收入邱士華主編《行篋隨行-乾隆南巡行李箱中的書畫》（臺北：國立故宮博物院，2017.03），頁80-85。"", ""收藏著錄"": [""石渠寶笈續編（重華宮），第三冊，頁1533"", ""故宮書畫錄（卷五），第三冊，頁94"", ""故宮書畫圖錄，第二冊，頁155-156""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000111N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000111N000000000')""}]}"
-36,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/36?dep=P&mode=full,宋馬遠雪灘雙鷺　軸,"{""文物統一編號"": ""故畫000113N000000000"", ""作品號"": ""故畫00011300000"", ""品名"": ""宋馬遠雪灘雙鷺　軸\nPaired Egrets on a Snowy Bank"", ""分類"": ""繪畫"", ""作者"": ""馬遠"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""59x37.6""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""馬遠"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""楷書"", ""全文"": ""馬遠""}]","[{""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""子京父印""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""子孫永保""}, {""印記類別"": ""收傳印記"", ""印主"": ""吳志淳"", ""印記"": ""吳氏珍玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""安國"", ""印記"": ""桂坡安國鑒賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""神品""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項子京家珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項元汴印""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項墨林鑒賞章""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""墨林秘玩""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鷺鷥"", ""主題說明"": ""四隻""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""喜鵲"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""寫意"", ""技法細目"": """"}]","{""內容簡介"": [""馬遠（活動於西元1190-1224年），字欽山，祖籍山西河中（今山西永濟），遷居杭州。曾於光宗、寧宗兩朝（西元1190-1224年）為畫院待詔，擅畫山水、花鳥、人物，尤以山水的成就最卓越，與夏圭齊名，而有「馬夏」之稱。 　　本幅生動地畫出冬天大地間僅剩下黑白兩色的強烈對比。畫家以濃墨畫樹石，積雲以留白來表現，灘旁三隻鷺鷥躲在石後，另一隻停在溪畔瑟縮不已。馬遠呈現的畫面，往往經過充分剪裁，空茫之處所發揮的造境效果，不亞於有實景處。全幅潔淨雪白，有著寂靜肅穆的感覺。枝幹以拖枝法畫成，運筆挺勁有力。山石施以斧劈皴法，筆意粗勁野逸。"", ""馬遠，字欽山，先世河中（今山西永濟）人，曾於光宗、寧宗兩朝（西元1190-1224年）為畫院待詔，擅畫山水、花鳥、人物，尤以山水的成就最卓越。 本幅生動地畫出冬天大地間僅剩下黑白兩色的強烈對比。畫家以濃墨畫樹石，積雲以留白來表現，灘旁三隻鷺鷥躲在石後，另一隻停在溪畔瑟縮不已。馬遠呈現的畫面，往往經過充分剪裁，空茫之處所發揮的造境效果，不亞於有實景處。"", ""馬遠為光宗（1190-1194在位）、寧宗（1195-1224在位）朝宮廷畫家。\r\n本幅畫雪天中巨岩梅樹下，蘆竹寒汀，四隻白鷺憩於岸邊。三隻瑟縮於石角，其中一隻僅見其首，另兩隻仰首，當中一隻張嘴鳴叫，似認為枝頭喜鵲入侵領域；尚有一隻佇立灘邊，凝視水流。白鷺皆以細筆淡墨勾勒，蘆葉及水波紋墨色略深。岩塊輪廓、斧劈皴及梅樹枝幹墨筆濃黑簡鍊，梅樹拖枝顫筆。虛實互用，白鷺淡墨，白雪留白，梅瓣則以白粉提點；呈現一種「山間水濱荒寒清絕之趣」的特殊品味。(20101015)""], ""Description"": [""A large cliff on a snowy day rises with a plum tree winding its way into the scene from the left. By the reeds and bamboo on a wintry shoal are four white egrets at rest. Three of them are crouched behind the rocks, with only the head of one visible as the other two look up. One opens its beak as if to call out, as if objecting to the magpie on the branch above that has entered the scene. There is also another egret standing by the shore, staring into the flowing water below. The white egrets were all outlined with fine brushstrokes and light ink, the reed leaves and ripple patterns done in ink tones that are slightly darker. The rock outlines, “axe-cut” strokes, and plum tree trunk and branches were all done in thick, jet-black strokes, the tips of the plum tree branches revealing the use of “trembling” brushwork.\r\n\tIn the balance between solid and void in this painting, the white egrets are in light ink, the white of the snow left blank, and the white petals of the plum blossoms dotted with white pigment. They express “An interest in a waterside mountain scene, the ultimate purity of desolate winter.”(20101015)"", ""Ma Yuan, of Shansi ancestry, resided in the capital of Hangchow. Serving as Painter-in-Attendance in the Southern Sung, he specialized in landscapes, birds-and-flowers, and figures, being especially accomplished in the former. Ma Yuan has reduced the elements of this painting to a dramatic contrast between black and white to suggest the penetrating cold of winter. In other words, Ma used dark ink to accentuate the rocks and trees, while the areas indicating snow have been left blank. By a bank are three egrets behind the rocks, while another stands to the side at the edge of the water. Ma Yuan almost always edited the scenery in his paintings in order to suggest the most using the least."", ""Ma Yuan (style name Ch’in-shan) was from a family native to Ho-chung, Shansi, but later moved to Hangchow. Serving as Painter-in-Attendance in the Southern Sung, he specialized in landscapes, birds-and-flowers, and figures, being especially accomplished in the former. Ma Yuan has reduced the elements of this painting to a dramatic contrast between black and white to suggest the penetrating cold of winter. In other words, Ma used dark ink to accentuate the rocks and trees, while the areas indicating snow have been left blank. By a bank are three egrets behind the rocks, while another stands to the side at the edge of the water. Ma Yuan almost always edited the scenery in his paintings in order to suggest the most using the least. A blanket of snow covers the scenery, enhancing the sense of solitude and desolation. The branches are rendered with the dragged, pulled strokes characteristic of Ma Yuan’s style. Tremulous and vibrant, they are imbued with forceful strength. The rocky terrain is also modeled in coarse, yet graceful, axe-cut strokes.""], ""收藏著錄"": [""故宮書畫錄 (卷五)，第三冊，頁95"", ""故宮書畫圖錄，第二冊，頁159-160""], ""參考書目"": [""1.譚怡令，〈宋馬遠雪灘雙鷺〉，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122-123。\r\n2.譚怡令，〈宋馬遠雪灘雙鴛〉，收入譚怡令編，《畫裡珍禽》（臺北：國立故宮博物院，1988年十月初版），頁83。\r\n3.譚怡令，〈書畫菁華特展 — 馬遠雪灘雙鷺〉，《故宮文物月刊》，第163期（1996年10月），頁60-61。\r\n4.陳葆真，〈從空間表現法看南宋小景山水畫的發展〉，《故宮學術季刊》，第十三卷第三期（1996年春），頁83-117。\r\n5.許文美，〈雪灘雙鷺〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化．書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁361-362。"", ""何傳馨，〈宋馬遠雪灘雙鷺　軸〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁194、361-362。"", ""國立故宮博物院編輯委員會，〈宋馬遠雪灘雙鷺　軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁122-123。""], ""網頁展示說明"": [""馬遠，字欽山，先世河中（今山西永濟縣）人。祖父時隨著宋室南遷，徙居於錢塘，曾於光宗、寧宗兩朝（1190-1224）為畫院待詔。馬遠出身於繪畫世家，從曾祖父馬賁（約活動於1086-1125）起至其子馬麟（約活動於1195-1264）為止，一門五代都是畫院畫家。善畫山水、人物、花鳥，與夏圭（活動於1180-1230前後）齊名，時稱「馬夏」。 　　雪崖枯樹，蘆竹寒汀，三隻白鷺聚集在坡石之下，另一隻則站在溪畔，都作寒冷瑟縮的樣子。畫家用濃淡的墨色來渲染樹、石、天色、遠山和蘆草，白鷺和積雪則用留白的手法處理，黑白對比，展現出冬季清冷寂靜的寒意。畫家用方硬的筆法、濃重的焦墨來畫樹石的輪廓線，再用「斧劈」皴法畫出石塊明暗凹凸的變化，筆筆蒼勁。枝條向下斜伸，瘦硬的像屈鐵一般，是馬遠畫作的一大特色。邊角式的構圖利用虛曠的背景，造成空間的延伸，將前面的實景襯托得更為醒目了。畫幅右下角還見「馬遠」名款。"", ""Ma Yuan, of Shansi ancestry, resided in the capital of Hangchow. Serving as Painter-in-Attendance in the Southern Sung, he specialized in landscapes, birds-and-flowers, and figures, being especially accomplished in the former. Ma Yuan has reduced the elements of this painting to a dramatic contrast between black and white to suggest the penetrating cold of winter. In other words, Ma used dark ink to represent the rocks and trees, while the areas indicating snow have been left blank. By a bank are three egrets behind the rocks, while another stands to the side at the edge of the water. Ma Yuan almost always edited the scenes in his paintings to suggest the most with the least.""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000113N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000113N000000000')""}]}"
-1357,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1357?dep=P&mode=full,宋馬遠華燈侍宴圖　軸,"{""文物統一編號"": ""故畫000114N000000000"", ""作品號"": ""故畫00011400000"", ""品名"": ""宋馬遠華燈侍宴圖　軸\nBanquet by Lantern Light"", ""分類"": ""繪畫"", ""作者"": ""馬遠,Ma Yuan"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""125.6x46.7""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""35.7x47.4""}, {""位置"": ""下方綾本"", ""尺寸(公分)"": ""11.7x70.3""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}, {""質地位置"": ""下方"", ""質地"": ""綾""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""馬遠"", ""位置"": ""本幅"", ""款識"": ""臣馬遠"", ""書體"": ""行書"", ""全文"": """"}, {""題跋類別"": ""題跋"", ""作者"": ""楊妹子\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""楷書"", ""全文"": ""朝回中史傳宣命。父子同班侍宴榮。酒捧倪觴祈景福。樂聞漢殿動驩聲。寶瓶梅蕊千枝綻。玉柵華燈萬盞明。人道催詩須待雨。片雲閣雨果詩成。"", ""印記資料"": [{""印主"": ""宋寧宗"", ""印記"": ""乾卦（圓印）""}, {""印主"": ""宋寧宗"", ""印記"": ""雙龍（圓印）""}, {""印主"": ""宋寧宗"", ""印記"": ""御書之寶 （疑偽）""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""乾隆癸卯冬御識"", ""書體"": ""行書"", ""全文"": ""石渠舊藏。有宋人華燈侍宴圖軸。不書畫者名氏。近又得此幅。下方左則有臣馬遠三字。其布置及題句。並同。惟畫中階墀部位。微有參差。而筆意深厚。兩幅同出宋時院本。觀題句中有父子同班侍宴榮之句。蓋係當時敕作此圖。以侈一時盛事。或一稿兩幅。分賜侍宴者父子二人。亦未可知。此幅馬遠款逼近邊幅。幸不似舊藏者之損壞裁截。而以新印舊。益可信宋人真面。此幅續列石渠。標名馬遠。不特為此畫幸延津之合。且以資鑑古者之一證云。乾隆癸卯冬御識。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""古稀天子之寶""}, {""印主"": ""清高宗"", ""印記"": ""猶日孜孜""}]}, {""題跋類別"": ""題跋"", ""作者"": ""董誥\n印記\nexpand_more"", ""位置"": ""下方綾本"", ""款識"": ""乾隆六十一年丙辰小春月御識。臣董誥奉敕敬書。"", ""書體"": ""楷書"", ""全文"": ""華燈侍宴圖。內府有兩本。 一為石渠舊藏。已入前編者。款經裁去。標題宋人。此則近年所得。入續編者。有馬遠款。兩幀畫筆均沉厚。絹素亦古。雖階墀部位。微有參差。而軒楹人物。大局悉同。且上方題句。字體亦如出一手。或當時一稿兩幅，分賜侍宴父子二人。以誌榮遇。亦不必求其人以實之。當續得此幀時。已兩相印證。各為識語。分題兩幀首矣。但前編所載者。貯御書房。入續編者。貯乾清宮。溯此圖流傳七百餘年。先後同入內府。邀鑒賞。真可謂翰墨緣。而分貯各誌。合而未合。仍未得為延津之遇。因命同弆一篋。貯乾清宮。以徵兩美之必合耳。乾隆六十一年（1722）丙辰小春月御識。臣董誥奉敕敬書。"", ""印記資料"": [{""印主"": ""董誥"", ""印記"": ""臣""}, {""印主"": ""董誥"", ""印記"": ""誥""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""五福五代堂古稀天子寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾清宮鑒藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""夜景（月景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""仕女"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二��)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""官員（臣）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""宮殿"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""庭院"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": ""屏風、長桌、簾""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""界畫"", ""技法細目"": """"}]","{""內容簡介"": ""描寫宮中宴會，宮女執燈籠歌舞，主體建築包括五開間軒、廳堂及側邊挾屋，採早期東西階制，正中不設階。大片「落地明照」格子門為宋代建築之特色，是一種可拆卸的輕型木構件裝修。本院收藏有兩幅同名之作，一本無款（疑已被裁去）；此圖有款，畫面上建築物已較大，遠山竹林、桃花枝幹畫法亦不同，疑是明初宮廷畫師摹古之作，兩幅皆有寧宗后楊妹子（1162-1232）題詠。馬遠光、寧宗朝（1190-1224）畫院待詔，祖父兄子世代皆以畫名。"", ""Description"": ""Ma Yuan, who resided at Hangchow, came from a family of painters. Famous for his landscapes focused in one corner of the composition, he became known as “One-corner Ma.” This painting shows the older brother of Empress Yang and his son in attendance at Emperor Ning-tsung’s evining banquet. The inscription above is believed to have been written by Empress Yang. Depicted at night is a palace building with pines and bamboo behind and plum trees in front. Three officials can be seen in the hall, in front of which ladies dance and play music. Ma Yuan was a master at creating a sense of atmosphere. Though narrating a particular event, he has capped it with a delicate and ephemeral sense of beauty."", ""參考書目"": [""邱士華，〈宋馬遠華燈侍宴圖　軸〉，收入劉芳如主編《華夏藝術中的自然觀-唐獎故宮文物選萃特展》（臺北：國立故宮博物院，2016.09），頁34-35。"", ""何傳馨，〈宋馬遠華燈侍宴圖　軸〉，收入《十全乾隆─清高宗的藝術品味》（臺北：國立故宮博物院，2013.10），頁162-163。"", ""1.胡賽蘭，〈宋馬遠華燈侍宴圖〉，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120-121。\r\n2.〈傳宋馬遠華燈侍宴圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁165。\r\n3.劉芳如，〈宋馬遠華燈侍宴圖〉，收入國立故宮博物院編輯委員會編，《畫梅名品特展》（臺北：國立故宮博物院，1991年元月初版），頁81-82。""], ""收藏著錄"": [""石渠寶笈續編（乾清宮），第一冊，頁313"", ""故宮書畫錄（卷五），第三冊，頁96-97"", ""故宮書畫圖錄，第二冊，頁161-162""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000114N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000114N000000000')""}]}"
-13963,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13963?dep=P&mode=full,宋馬遠畫雪景　軸,"{""文物統一編號"": ""故畫000116N000000000"", ""作品號"": ""故畫00011600000"", ""品名"": ""宋馬遠畫雪景　軸\nSnowscape"", ""分類"": ""繪畫"", ""作者"": ""馬遠,Ma Yuan"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""256.3x101.7""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""馬遠"", ""位置"": ""本幅"", ""款識"": ""馬遠（白文）"", ""書體"": """", ""全文"": """"}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""馬"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}]","{""內容簡介"": ""白雪靄靄，一株松樹挺立在畫幅的中央，幾株梅花環繞著屋宇，橋上一人騎馬而行，他的侍從縮著頸子，十分瑟縮的樣子，全畫充滿澈骨的寒意。\r\n本幅下方又有「馬遠」的款署，而且畫中的松枝曲折低垂，勁挺如屈鐵，仍具馬遠拖枝的餘韻，所以過去有人認為這件畫作應出自南宋院畫名家馬遠（活動於西元1190-1224年）之手。可是從此畫的風格和筆法看來，它應該是明代畫家偽託馬遠之名的作品。"", ""Description"": ""In this frigid snowy scene, two pine trees (one in front and the other behind) appear in the middle of the composition. Some plum trees circle around the building as a figure on horseback crosses the bridge. From the hunched position of the attendant, we can sense the bitter cold of this landscape scene.\r\n\tAt the bottom of this work is a signature reading “Ma Yuan,” and the angular, diagonally descending pine branches look like twisted iron in the manner for which Ma Yuan was famous. For this reason, this work was considered to have been done by Ma, a famous Southern Sung court painter. However, the style and brushwork here suggest that this work was done instead by a Ming (1368-1644) painter to Ma Yuan’s, name was added."", ""網頁展示說明"": [""白雪皚皚中松樹勁挺如屈鐵，山嶺間華亭敞軒，古梅鬥艷，喻主客高雅。訪客策騎渡橋而來，隨行侍從瑟縮，澈骨寒意貫穿全作。本幅下方署有「馬遠」名款，加以畫中拖枝低垂，且濃墨皴染山石，襯托皚皚雪意，皆具馬遠餘韻，是而舊定為馬遠之作，然從筆法畫意研判，應是明代畫家託名所為。\r\n馬遠（活動於西元1190-1224年），南宋寧宗朝院畫家，山水畫取景常偏畫面一角，因此又稱「馬一角」。\r\n(20120102)"", ""In gleaming white snow a pine tree rises powerfully like bent steel, an opulent pavilion and spacious veranda also in the mountain valley. Old plum trees compete in beauty, symbolizing the host and guest’s lofty elegance. A visitor rides over a bridge with an attendant huddled against the cold, a shiver penetrating the work.\r\nIn the lower area is a \""Ma Yuan\"" signature. With \""dragged branches,\"" landscape texturing in dark ink set off by snowy white suggest traces of Ma’s style, hence the old attribution. But closer study of the brushwork shows it is probably by a Ming dynasty (1368-1644) painter with Ma’s name added. Ma, a Painter-in-Attendance at the court of Emperor Ningzong in the Southern Song, often only depicted a corner of the landscape, hence being known as \""One-Corner Ma.\""\r\n(20120102)"", ""純白の雪中に立つ屈強な松の木が描かれている。山間に華亭と敞軒（建築物）があり、その美しさを競い合う梅の老木は、主人と客人の品格を表している。騎馬で橋を渡っている訪問者がおり、それに隨う侍從は寒さに身を縮めている。畫面全体から骨まで染み入るような寒さが感じられる。畫面下方に名款「馬遠」がある。加えて畫中の低く枝を垂れる樹木、濃墨を用いた皴法と渲染による山石、それらを際立たせる真っ白な雪など、いずれにも馬遠の畫風が見られるため、かつては馬遠作とされていたが、筆法と畫意から判断するに、明代の畫家が馬遠の名を借りて描いたものである。\r\n馬遠（1190-1224）、南宋寧宗朝畫院畫家。馬遠の山水畫は景物が畫面の一角に偏っているため、「馬一角」とも稱された。\r\n(20120102)""], ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1504"", ""故宮書畫錄（卷五），第三冊，頁99-100"", ""故宮書畫圖錄，第二冊，頁167-168""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000116N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000116N000000000')""}]}"
-37,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/37?dep=P&mode=full,宋馬麟靜聽松風圖　軸,"{""文物統一編號"": ""故畫000119N000000000"", ""作品號"": ""故畫00011900000"", ""品名"": ""宋馬麟靜聽松風圖　軸\nQuietly Listening to Soughing Pines"", ""分類"": ""繪畫"", ""作者"": ""馬麟"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""226.6x110.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""馬麟"", ""位置"": ""本幅"", ""款識"": ""臣馬麟畫"", ""書體"": ""楷書"", ""全文"": """"}, {""題跋類別"": ""題跋"", ""作者"": ""宋理宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""靜聽松風"", ""印記資料"": [{""印主"": ""宋理宗"", ""印記"": ""丙午""}, {""印主"": ""宋理宗"", ""印記"": ""御書""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗"", ""位置"": ""本幅"", ""款識"": ""癸未春日御題"", ""書體"": ""行書"", ""全文"": ""傳神非阿堵。耳屬在喬松。生面別開處。清機忽滿胸。濤聲翻未已。蓋影佈猶濃。公物千秋付。休言弘景重。癸未（1763）春日御題。""}]","[{""印記類別"": ""收傳印記"", ""印主"": ""趙輿懃"", ""印記"": ""天水郡收藏書畫印記""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""虎字印""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋犖"", ""印記"": ""商丘宋犖審定真跡""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋理宗"", ""印記"": ""緝熙殿寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠繼鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(��二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}]","{""內容簡介"": [""馬麟（西元一一八O—一二五六年），出身繪畫世家，山水、花鳥、人物都擅長，成就不在其父馬遠之下。　　深山流水間，一高士憩坐兩株古松間，側首凝神締聽，背後松針及藤蘿隨風揚起。虯曲的古松與斧劈描繪的巨石，俱是馬派畫法，右上方有理宗「靜聽松風」四字，左下方有「臣馬麟畫」的署款。北宋時，人在山水畫中是過客，但在南宋，山水之間的交流卻成為繪畫的主題。"", ""馬麟（西元十三世紀），河中（今山西省）人，後遷居浙江錢塘，馬遠之子。由於家學淵源，擅長山水、人物、花鳥。寫生作品，自具風格，與父風並不相混，在畫史上保有獨立地位。　　　　畫高士憩息松間，松枝受風偏向一方，旁侍一童子。晉朝大畫家顧愷之曾云：「手揮五弦易，目送飛鴻難」。這幅畫生動地表現出眼睛凝神傾聽松風之神情，真更勝一籌矣。""], ""Description"": [""Man Lin was a native of Ho-chung(modern Shansi), though he moved to Hangchou, Chekiang. He was the son of the famous court painter Ma Yuan and excelled in painting landscapes, figures, and birds and flowers. He developed his own particular style distinct from that of his father. A scholar rests amidst pines as the wind blows pine branches aslant. A servant boy stands waiting to one side. The Chin dynasty painter Ku K’ai-chih wrote: “ To paint a hand plucking the strings of a lute is easy; to paint the eyes following the flight of a wild goose is difficult.” In a convincing and moving manner, Ma Lin has depicted the look of the scholar listening intently to the wind."", ""Ma Lin, from a family of painters, specialized in landscapes, birds-and-flowers, and figures-being just as accomplished as his father, Ma Yuan. Deep in the mountains beside a flowing stream, a lofty gentleman sits on the trunk of a large pine as he stares and listens with intent to the wind blowing through the pine needles and vines. The twisting old pines and large rocks rendered in axe-cut strokes reveal the Ma-school style. The title written by Emperor Li-tsung is in the upper right. In the lower left is Ma Lin’s signature. In the Northern Sung, figures appeared as insignificant elements of the landscape, while in the Southern Sung, the relationship between man and nature became an even more important aspect in painting.""], ""網頁展示說明"": [""理宗書「靜聽松風」，下鈐「丙午」、「御書」二璽，左下鈐「緝熙殿寶」印，成畫年代下限為淳祐六年（1246）。\r\n前景高士戴冠覆紗，左腳半跏，右腳舒展，胸部微袒，右手輕執衣帶，一拂塵置於地。高士凝神諦聽，松葉、藤蘿等都隨風勢翻飛，松濤聲在蜿蜒水流和遠景山峰圍繞的空間迴盪。清高宗題詩認為畫中人物為「特愛松風，每聞其響，欣然為樂」的梁朝陶弘景。亦有學者比對理宗肖像，認為此畫呈現理宗愛松形象。(20101015)"", ""In the upper right corner of this painting Emperor Lizong wrote the four characters for its title and also impressed two imperial seals for \""Bingwu\"" and \""Yushu.\"" Also in the lower left is impressed the imperial collection seal \""Treasure of the Qixi Hall.\"" This evidence indicates that the painting was done no later than 1246.\r\nIn the foreground sits a lofty scholar wearing a gauze cap with his left leg half crossed and the other extended comfortably. With his chest partially exposed, his right hand lightly grasps his clothing as a flywhisk lies on the ground. The scholar concentrates on listening with all his attention, the pine needles and vines blowing in the strong wind, the sound of which seems to echo in the space of flowing water and surrounding peaks behind him.\r\nThe Qing emperor Gaozong (Qianlong) in his verse at the top of the work considered the figure in the painting as \""especially appreciative of the wind in pines, taking great joy with each sound of the wind as if it were music,\"" borrowing from the lines of Tao Hongjing in the Liang dynasty. Compared to the portrait of Emperor Lizong, there is also scholarly opinion that this painting depicts the emperor himself appreciating pines.(20101015)"", ""理宗の書「靜聽松風」の下に「丙午」、「御書」という印璽の押捺が二つあり、左下に「緝熙殿寶」という印がある。製作年代は淳祐6年（1246）を下限とする。\r\n前景に帽子をかぶり紗の衣をまとった高士がおり、左足を折り曲げ右足を伸ばしている。胸元はややはだけ、右手で軽く帶を掴んでいる。その傍らの地面にはちり払いが置いてある。高士は耳を澄まして何かに聞き入っているようで、松葉や藤蔓が風に吹かれて翻り、うねうねと流れ行く川や遠方に見える山々に囲まれた空間に松風の音が響��ている。清高宗の題詩は畫中の人物を、「特愛松風、每聞其響、欣然為楽（松風をことのほか好み、その音を聽いては喜び楽しんだ）」という梁朝の陶弘景とした。理宗の肖像畫と比較して、この作品には松を好んだ理宗のイメージが表現されているとする研究者もいる。(20101015)""], ""參考書目"": [""何傳馨，〈宋馬麟靜聽松風圖　軸〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁214-215、365-366。"", ""國立故宮博物院編輯委員會，〈宋馬麟靜聽松風圖　軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁124-125。"", ""1.林莉娜，〈宋馬麟靜聽松風圖〉，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124-125。\r\n2.何傳馨，〈宋馬麟靜聽松風圖〉，收入何傳馨、許郭璜編，《夏景山水畫特展圖錄》（臺北：國立故宮博物院，1991年七月初版），頁94-95。\r\n3.李霖燦，〈從馬麟的靜聽松風談起〉，《故宮文物月刊》，第6期（1983年9月），頁95-101。\r\n4.林莉娜，〈宋馬麟靜聽松風圖〉，《故宮文物月刊》，第100期（1991年7月），頁82-83。\r\n5.王耀庭，〈從〈芳春雨霽〉到〈靜聽松風〉 — 試說國立故宮博物院藏馬麟繪畫的宮廷背景〉，《故宮學術季刊》，第十四卷第一期（1996年秋），頁39-86。\r\n6.《馬麟靜聽松風》（台北：國立故宮博物院，1982）。\r\n7.邱士華，〈虎距鷹揚 — 元歸真〈畫虎〉小探〉，，《故宮文物月刊》，第323期（2010年2月），頁46-51。""], ""收藏著錄"": [""石渠寶笈初編（養心殿），上冊，頁642"", ""故宮書畫錄（卷五），第三冊，頁102"", ""故宮書畫圖錄，第二冊，第193-194""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000119N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000119N000000000')""}]}"
-13967,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13967?dep=P&mode=full,宋馬遠山水　軸,"{""文物統一編號"": ""故畫000117N000000000"", ""作品號"": ""故畫00011700000"", ""品名"": ""宋馬遠山水　軸\nLandscape"", ""分類"": ""繪畫"", ""作者"": ""馬遠"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""70.9x68.1""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": """", ""位置"": ""本幅"", ""款識"": ""營邱李成"", ""書體"": ""楷書"", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""□賢（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""晉府圖書之印""}, {""印記類別"": ""收傳印記"", ""印主"": ""賈似道"", ""印記"": ""賈氏半閒堂書畫印""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""樵夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""狗"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": ""驢""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""店舖"", ""主題說明"": ""茶館""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""城牆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""掃帚、畚箕"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}]","{""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁100-101"", ""故宮書畫圖錄，第二冊，頁171-172""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000117N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000117N000000000')""}]}"
-1481,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1481?dep=P&mode=full,宋馬麟溪山行旅圖　軸,"{""文物統一編號"": ""故畫000118N000000000"", ""作品號"": ""故畫00011800000"", ""品名"": ""宋馬麟溪山行旅圖　軸\nTraveling Among Mountains and Streams"", ""分類"": ""繪畫"", ""作者"": ""馬麟"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""147.9x60.5""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""27.8x61.1""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""馬麟"", ""位置"": ""本幅"", ""款識"": ""馬麟"", ""書體"": ""楷書"", ""全文"": ""馬麟""}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""癸巳（西元一七七三年）秋月。御題。"", ""書體"": ""行書"", ""全文"": ""關山逮秋仲。旅客問程時。焦墨含蕭颯。層峯益奥奇。遵途據蹇跛。望瀑坐厜㕒。世學無些欠。豈誠逺所為。癸巳（西元一七七三年）秋月。御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": """", ""書體"": """", ""全文"": ""妙傳一角。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆御筆""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（一印不辨）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""句曲外史張北羽圖書""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""臥仙霞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮續入石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""秋景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(���二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": ""驢""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": ""枯樹""}]","[{""技法"": ""人物衣紋描法(減筆)"", ""技法細目"": """"}, {""技法"": ""苔點"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}]","{""收藏著錄"": [""石渠寶笈續編（寧壽宮），第五冊，頁2726"", ""故宮書畫錄（卷五），第三冊，頁101-102"", ""故宮書畫圖錄，第二冊，頁191-192""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000118N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000118N000000000')""}]}"
-13964,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13964?dep=P&mode=full,宋馬麟畫花鳥　軸,"{""文物統一編號"": ""故畫000120N000000000"", ""作品號"": ""故畫00012000000"", ""品名"": ""宋馬麟畫花鳥　軸\nFlowers and Birds"", ""分類"": ""繪畫"", ""作者"": ""馬麟,Ma Lin"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""119.9x56.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""馬麟"", ""位置"": ""本幅"", ""款識"": ""臣馬麟"", ""書體"": ""楷書"", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": ""王俊華"", ""印記"": ""王氏俊華""}, {""印記類別"": ""收傳印記"", ""印主"": ""史彌遠"", ""印記"": ""史彌遠印""}, {""印記類別"": ""收傳印記"", ""印主"": ""項篤壽"", ""印記"": ""項篤壽氏""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鵪鶉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""天竺"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""水仙"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}, {""技法"": ""寫意"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁103"", ""故宮書畫圖錄，第二冊，頁197-198""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000120N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000120N000000000')""}]}"
-1233,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1233?dep=P&mode=full,宋夏珪山水　軸,"{""文物統一編號"": ""故畫000124N000000000"", ""作品號"": ""故畫00012400000"", ""品名"": ""宋夏珪山水　軸\nLandscape"", ""分類"": ""繪畫"", ""作者"": ""夏珪,Xia Gui"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""47.6x32.5""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""28x32.6""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""王鐸\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""王鐸鑒定"", ""書體"": """", ""全文"": ""夏珪。王鐸鑒定。"", ""印記資料"": [{""印主"": ""王鐸"", ""印記"": ""鐸""}]}, {""題跋類別"": ""題跋"", ""作者"": ""王鐸\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""王鐸"", ""書體"": """", ""全文"": ""老幹不事纖細小巧。骨格堅凝韶秀。有大家氣。即此一畫。雪色蒙晦。石寒鐵色。噫。陰晴不可知。有天道寓于中。謂畫者果無意歟。夏圭錢塘人。寧宗時擅名。師范寬李唐。罕有其儷。凡以觕糲冒圭者非其真也。丙戌三月時居燕。為二弟仲和題。王鐸。"", ""印記資料"": [{""印主"": ""王鐸"", ""印記"": ""鐸""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""卞令之鑑定""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""王氏鏞""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""仲和珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""式古堂書畫印""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""百姓"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""蘆葦"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""漁船"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}]","{""內容簡介"": [""畫山居悠然閒靜之狀，遠山巒峰高聳，瀑泉直瀉而下，軒舍散落，雅士、樵者步行其中。全幅筆墨濃淡有致，林木丘壑明暗對比清楚。\r\n    此幅未見畫家落款簽名，據舊傳原籤題作夏珪。按夏珪，字禹玉，錢塘人。南宋寧宗、理宗時任職畫院。擅畫山水、人物，與馬遠齊名，時稱「馬夏」。然此圖山林坡石之佈局與筆墨技法，已現明代浙派作風。"", ""畫山居悠然閒靜之狀，遠山巒峰高聳，瀑泉直瀉而下，軒舍散落，雅士、樵者步行其中。全幅筆墨濃淡有致，林木丘壑明暗對比清楚。本幅未見畫家落款簽名，根據原籤，定名夏珪。然此幀山林坡石之布局與淋漓的筆墨，已展現明代浙派作風，當為後人偽託之作。\r\n夏珪（活動於13世紀前半），字禹玉，錢塘人。南宋寧宗、理宗時任職畫院。擅畫山水、人物，與馬遠齊名，時稱「馬夏」。\r\n(20110913)""], ""Description"": [""In this work is a mountain dwelling in a serene foreground setting. The peaks in the distance stand upright with a waterfall to one side. Buildings appear scattered through the middle ground along with woodcutters as scholars make their way in the foreground. The work features extremes of light and dark ink with brushwork that creates for a strong yet clear contrast between the woods and hills. This work bears neither seal nor signature of the artist but was attributed in the title label to Xia Gui. The composition of mountain forests and slope rocks along with the wet and quick brushwork here already reveals the Zhe School style from the Ming dynasty, suggesting this is a spurious attribution by a later person.\r\nXia Gui (style name Yuyu), a native of Qiantang, served the Painting Academy during the reigns of Emperors Ningzong and Lizong in the Southern Song. Specializing in landscapes and figures, his fame equaled that of Ma Yuan, and they were known as “Ma-Xia.”\r\n(20110913)"", ""In this work is a mountain dwelling in a serene foreground setting. The peaks in the distance stand out upright with a waterfall to one side. Buildings appear scattered through the middle ground along with woodcutters as scholars make their way in the foreground. The work features extremes of light and dark ink and brushwork to create for a strong yet clear contrast between the woods and hills.\r\n\tThis work bears neither seal nor signature of the artist but was attributed to Hsia Kuei. Specializing in landscapes and figures, his fame equaled that of Ma Yuan, and they were known as “Ma-Hsia.”The composition and brushwork of this work reveals the Che School style of the Ming dynasty (1368-1644).""], ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁106"", ""故宮書畫圖錄，第二冊，頁209-210""], ""參考書目"": ""劉芳如，〈宋夏珪山水　軸〉，收入《典範與流傳-范寬及其傳派》（臺北：國立故宮博物院，2015.07），頁166-171、337。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000124N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000124N000000000')""}]}"
-13966,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13966?dep=P&mode=full,宋陳居中畫王建宮詞圖　軸,"{""文物統一編號"": ""故畫000125N000000000"", ""作品號"": ""故畫00012500000"", ""品名"": ""宋陳居中畫王建宮詞圖　軸\nIllustrating a Wang Jian’s “ Palace Poem”"", ""分類"": ""繪畫"", ""作者"": ""陳居中"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""50.2x79.9""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""32x79.9""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""癸巳（西元一七七三年）仲春。御題並識。"", ""書體"": ""行書"", ""全文"": ""檐可步巡人可呼。傳神妙處若斯夫。雖然唐豈乏内監。以理言之此事無。建此詩膾炙人口。居中所以為圖也。宮廊窈窕。采女勃窣。可謂曲盡神情。然内侍司灑掃之役掌宮闈之禁。自古已然。豈唐獨無而令外人進内擁帚哉。且汛掃乃日日所有之程。豈得不識。而羣訝以為奇貨。又宮人非自外間選進者乎。乃至不知為何世界。蓋文人遣興求新。未免以辭害義。要當折衷乎理。故予以為必無之事。因題此圖。並識如右。建詩附錄於後。宮人早起笑相呼。不識階前掃地夫。乞與金錢争借問。外頭還似此間無。癸巳（西元一七七三年）仲春。御題並識。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶（重一）""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""五福五代堂古稀天子寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""太上皇帝之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""壽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮續入石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""仕女"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""后妃"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""��他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""木蘭（辛夷）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""杏花"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""牡丹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""海棠（木）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""池水"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""宮殿"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""庭院"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""燕"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""經史‧故事"", ""主題(第二層)"": """", ""主題說明"": ""王建宮詞""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""香爐．火盆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""楊柳"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""界畫"", ""技法細目"": """"}]","{""內容簡介"": [""陳居中，嘉泰（西元一二0一至一二0四）年間，為畫院待詔。擅畫人物蕃馬。 清晨深宮內，有僕役正打掃庭園。宮娥群聚而來，為首的一位手持金錢，欲探問外界的情形。詩塘中有乾隆皇帝的題識，並附題王建詩「宮人早起笑相呼，不識階前掃地夫，乞與金錢爭借問，外頭還似此間無。」王建字仲初，唐穎川人。作有「宮詞百首」，「王司馬集」。"", ""此幅描寫唐代詩人王建《宮詞》詩：「宮人早起笑相呼，不識階前掃地夫，乞與金錢爭借問，外頭還似此間無。」畫中深宮內宮娥群聚，爭相給掃地夫錢，詢問外面世界的情況，勾勒宮人在幽閉的環境中對外界的好奇與嚮往。\r\n\r\n陳居中，生卒年不詳，寧宗嘉泰（西元一二○一至一二○四）年間，任職畫院待詔，擅畫蕃馬題材。宋元載籍資料極少，至明朝時見作品流傳之記載，從畫風看，此應是繪於晚明的托名之作。(20110405)""], ""Description"": [""This work illustrates “A Palace Poem” by Wang Jian of the Tang: “Palace people rise early, laughing and calling each other; But they know not even the courtyard sweeper. Giving him gold, they jostle to ask; ‘Is the outside as boring as it is here?’” Here palace concubines prepare to give a sweeper money and ask about the outside world, hinting at the curiosity and yearning by those confined to the palace. \r\n\tChen Juzhong (dates unknown) was a Painter-in-Attendance at the Painting Academy in Ningzong’s Jiatai reign (1201-1204), excelling at foreigners and horses. Song and Yuan records of him are rare, but his works are found in the Ming dynasty. Judging from the style, this is probably a late Ming (1368-1644) work with Chen’s name added to it.(20110405)"", ""Chen Chu-chung was a Painter-in-Attendance in the Painting Academy and excelled at painting figures and horses. In the early morning, deep in the palace, a servant is sweeping the courtyard. A group of imperial concubines arrives with the one in front carrying gold coins, asking the sweeper what it is like in the world beyond the palace. On the area of the pond is an inscription by the ch'ien-lung emperor (r. 1735-96) with Wang Chien's poem that reads; Palace people rise early, laughing and calling to each other; But they do not know the courtyard sweeper. Giving him gold coins, they jostle to ask; “Is the outside world as boring as it is here?” Wang Chien (style name Chung-ch'u) was active in the T'ang dynasty (618-907) and a native of Ying-ch'uan. His surviving works include 100 palace poems in Wang Ssu-ma chi.""], ""收藏著錄"": [""石渠寶笈續編（寧壽宮），第五冊，頁2723"", ""故宮書畫錄（卷五），第三冊，頁106-107""], ""參考書目"": [""賴毓芝，〈宋陳居中畫王建宮詞圖　軸〉，收入邱士華、林麗江、賴毓芝主編《偽好物-16~18世紀蘇州片及其影響》（臺北：國立故宮博物院，2018.04），頁140-143。"", ""鄭淑方，〈宋陳居中畫王建宮詞圖　軸〉��收入劉芳如主編《她-女性形象與才藝》（臺北：國立故宮博物院，2020.10），頁60-63、251。""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000125N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000125N000000000')""}]}"
-1244,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1244?dep=P&mode=full,宋梁楷東籬高士圖　軸,"{""文物統一編號"": ""故畫000127N000000000"", ""作品號"": ""故畫00012700000"", ""品名"": ""宋梁楷東籬高士圖　軸\nGentleman of the Eastern Fence"", ""分類"": ""繪畫"", ""作者"": ""梁楷,Liang Kai"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""71.5x36.7""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""梁楷"", ""位置"": ""本幅"", ""款識"": ""梁楷"", ""書體"": ""行書"", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""子孫永保""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""公貞""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""天籟閣""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""吳于庭玄賞印""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""吳氏公一""}, {""印記類別"": ""收傳印記"", ""印主"": ""李芳"", ""印記"": ""李繼泉真賞章""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""其貞""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""神品""}, {""印記類別"": ""收傳印記"", ""印主"": ""張鏐"", ""印記"": ""張鏐""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項子京家珍藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項元汴印""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項墨林鑑賞章""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蒼巖""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""墨林山人""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蕉林居士""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""菊"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""經史‧故事"", ""主題(第二層)"": """", ""主題說明"": ""陶淵明""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""梁楷（西元十三世紀），原籍山東東平，居浙江錢塘。善畫人物、山水、道釋、鬼神。曾從賈師古學畫，人物描寫飄逸，帝賜予金帶，不受，掛於院中自去。又嗜酒自樂，人稱「梁風子」。傳世作品以「減筆人物」最稱精妙。 \r\n本幅畫溪旁喬松楓葉，一高士身披鹿皮，把菊曳杖而行，右邊坡腳有梁楷款。人物神情生動，樹石亦蒼勁。背景用淡墨烘染，祇覺晨霧未消，曉風吹拂，宛如置身仙境。\r\n(20121016)"", ""Description"": ""Liang Kai (originally from Dongping, Shandong), lived in Qiantang, Zhejiang. He excelled at figures, landscapes, Buddhist-Taoist subjects, and spirits. He studied under Jia Shigu, creating graceful figures, but refused the Golden Sash at court, hanging it at the Academy and leaving. Fond of drink, he was nicknamed “Madman Liang,” his “figures in abbreviated ink” most exquisite. This work depicts a gentleman in a deerskin cape with a chrysanthemum and walking with a staff below pine and maple trees. Liang’s signature appears in the lower right. He imbued the figure with life while limning the trees and terrain with force. The pale wash background appears filled with dawn mists. In a gentle morning breeze, the scene is reminiscent of the immortals.\r\n(20121016)"", ""參考書目"": [""童文娥，〈宋梁楷東籬高士圖　軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁190-191。"", ""1.王耀庭，〈宋梁楷東籬高士圖〉，收入王耀庭編，《淵明逸致特展圖錄》（臺北：國立故宮博物院，1988年初版），頁92。\r\n2.〈宋梁楷東籬高士圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁166。\r\n3.本社，〈宋梁楷東籬高士圖〉，《故宮文物月刊》，第66期（1988年9月），頁1。\r\n4.王靜靈，〈〈東籬高士〉的風格與圖像 — 兼談梁楷「精妙之筆」的問題〉，《故宮文物月刊》，第280期（2006年7月），頁66-77。""], ""收藏著錄"": [""石渠寶笈初編（御書房），下冊，頁1104"", ""故宮書畫錄（卷五），第三冊，頁108"", ""故宮書畫圖錄，第二冊，頁219-220""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000127N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000127N000000000')""}]}"
-13969,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13969?dep=P&mode=full,宋趙大亨蓬萊仙會　軸,"{""文物統一編號"": ""故畫000129N000000000"", ""作品號"": ""故畫00012900000"", ""品名"": ""宋趙大亨蓬萊仙會　軸\nGathering of Immortals at Penglai"", ""分類"": ""繪畫"", ""作者"": ""趙大亨,Zhao Daheng"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""54.2x86.4""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""趙大亨"", ""位置"": ""本幅"", ""款識"": ""趙大亨"", ""書體"": ""楷書"", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蒼巖""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""墨林祕玩""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""神、仙"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""祥瑞"", ""主題(第二層)"": """", ""主題說明"": ""蓬萊仙會""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""佛道侍者"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""道（道士、道姑）"", ""主題說明"": ""八仙""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""鹿"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": ""驢""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""宮殿"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鶴"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}, {""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""界畫"", ""技法細目"": """"}]","{""內容簡介"": [""趙大亨（西元十二世紀），時人以其肥偉，號之為趟大漢，自恥其俗，因名大亨。為趙伯駒伯驌兄弟之皂隸，多獲遺稿，且諳其法，遂亦善畫。本幅寫蓬萊仙會，群仙徒騎而至，用筆細膩，描擬盡態。洞府之中，雲上作界畫樓臺，西王母在焉。方寸之中，直欄橫檻，棟宇軒櫺，無不雕金鏤翠，燦然俱備。石上有趙大亨三字款，疑係後加，依畫風當為明代。元代以後，慶壽劇流行，以西王母有蟠桃之壽，眾仙來祝，其中八仙尤不可缺，本幅即是。"", ""道教神仙譜系多元複雜，每逢神仙誕辰，皆舉行齋醮活動，遂形成特殊節慶。本幅寫蓬萊仙會，群仙紛至，描擬盡態，棟宇軒櫺，無不雕金鏤翠，方寸之中，燦然俱備。\r\n石上有「趙大亨」三字款，疑係後加，依畫風當為明人托名之作。趙大亨，活動於西元十二世紀，為趙伯駒、伯驌兄弟之皂隸，因獲遺稿，而諳其法，熟其筆意敷色，遂亦善畫，仿幾亂真，傅世之跡，多青綠山水神仙故實。\r\n(20120714)""], ""Description"": [""The gods and immortals in Taoism are quite diverse and complex. Fasting and ritual offerings were held on their birthdays, gradually becoming festivals. This work depicts a gathering of immortals at Penglai scattered in various activities. The buildings are glittering and marvelously carved, dazzling down to the smallest detail. On one rock is a signature for “Zhao Daheng,” apparently being a later addition. Judging from the style, it was done by a late Ming or early Qing artist with Zhao’s name added. Zhao was a servant of the brother-artists Zhao Boju and Bosu. Acquiring their drafts, Daheng learned their painting and became a gifted artist, too. His imitations could pass for theirs, with most of them blue-and-green landscapes related to immortals.\r\n(20120714)"", ""Chao Ta-heng was the servant of Chao Po-chu and Po-su, brothers in the imperial family known for painting. When the latter two died, their servant inherited their drafts and learned the art of painting. In this painting is depicted a meeting of immortals on their way to the P'eng-lai Isles--some walk while others ride. The brushwork is refined and extremely subtle, capturing all aspects of the immortals' activities and personalities. In this other-wordly realm is an exceptionally grand palatial residence, that of the Mother Goddess of the West, amongst the clouds. All manner of architectural detail has been depicted, including brackets, ramparts, porches and finials. Nothing is left out, for even the gilded sculptures and lacquered engraved-work are included. The artist's name appears on a rock, indicating it could be a later addition. In fact, the style appears to be Ming (1368-1644). After the Yuan (1279-1368), dramas celebrating longevity became popular, and depictions of festivals including the Mother Goddess of the West with the peaches of immortality appeared. Immortals are included to convey blessings, and, among them, the Eight Immortals are always found.""], ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁108"", ""故宮書畫圖錄，第二冊，頁233-234""], ""參考書目"": [""1.王耀庭，〈宋趙大亨蓬萊仙會〉，收入王耀庭、童文娥編，《長生的世界：道教繪畫特展圖錄》（臺北：國立故宮博物院，1996年初版），頁80-81。"", ""許文美，〈宋趙大亨蓬萊仙會　軸〉，收入《何處是蓬萊-仙山圖特展》（臺北：國立故宮博物院，2018.06），頁26-33、160。""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000129N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000129N000000000')""}]}"
-13968,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13968?dep=P&mode=full,宋陳居中奚官調馬　軸,"{""文物統一編號"": ""故畫000126N000000000"", ""作品號"": ""故畫00012600000"", ""品名"": ""宋陳居中奚官調馬　軸"", ""分類"": ""繪畫"", ""作者"": ""陳居中"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""62x36.5""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""陳居中"", ""位置"": ""本幅"", ""款識"": ""陳居中製"", ""書體"": ""楷書"", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（一印漫漶不可辨）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""端本""}, {""印記類別"": ""收傳印記"", ""印主"": ""趙孟頫"", ""印記"": ""趙氏子昂""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""官員（臣）"", ""主題說明"": ""奚官""}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""馬"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(勻稱線條)"", ""技法細目"": """"}, {""技法"": ""工筆"", ""技法細目"": """"}]","{""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁107-108"", ""故宮書畫圖錄，第二冊，頁215-216""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000126N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000126N000000000')""}]}"
-1413,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1413?dep=P&mode=full,宋魯宗貴春韶鳴喜　軸,"{""文物統一編號"": ""故畫000128N000000000"", ""作品號"": ""故畫00012800000"", ""品名"": ""宋魯宗貴春韶鳴喜　軸\nThe Harmony of Spring"", ""分類"": ""繪畫"", ""作者"": ""魯宗貴"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""164x77.9""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""魯宗貴"", ""位置"": ""本幅(左下方石間)"", ""款識"": ""宗貴製"", ""書體"": ""篆書"", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""易安軒珍藏印""}, {""印記類別"": ""收傳印記"", ""印主"": ""蔡琦"", ""印記"": ""蔡氏巍□書畫之章""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""雉（錦雞．雉類）"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""水仙"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""茶花"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""春景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""麻雀"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": ""此幅右下方有篆書款字「宗貴製」，然細審之，顯係後加。本幅畫春日山澗情景，石壁間激泉如響，巉巖上翠竹流青，梅木茶競妍，山雀鳴唱，野雉偎嬉，構思造境，描染俱佳，乃歲朝張掛之圖畫。本幅畫石，皴法用筆直瀉而不含蓄，且水墨淋漓，顯非南宋人畫法，而是明人學宋代之浙派風格。樹幹皴紋，也如同邊文進、呂紀一系之用筆，花鳥施朱用粉，更近於呂紀風格，本院另藏有宋人「歲朝圖」，構圖同出一稿，樹石畫法更近於明人風格。魯宗貴，錢塘人，南宋紹定間畫院待詔，善畫花鳥走獸及窠石。"", ""Description"": ""The signature \""Lu Tsung-kuei\"" is written in seal script in the bottom left of the painting, but it was added at a later date. In a mountain gorge down which a babbling stream flows, sparrows perched on plum branches sing as wild pheasants sport amid the bamboo, camellias, and rocks. The entire work emulates the bounty of spring. The brushwork for the rocks, however, is brutally direct, devoid of any subtlety, and the ink in overly wet. This style of painting is not characteristic of Sung dynasty artists but rather Ming dynasty artists of the Che school. The texture strokes for the tree branches are in the style of Pien Wen-chin and Lu Chi, While the use of color for the birds and flowers is even closer to Lu Chi's techniques. Another painting in this Museum, The Beginning of the New Year attributed to a Sung dynasty artist, shares the same composition, and the handling of the rocks and branches is even closer in style to that of Ming artists. Lu Tsung-kuei served as a Painter-in-Attendance in the Southern Sung court during the Shao-ting era (1228-1233). He excelled in painting birds, flowers, animals, and rocks."", ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁108"", ""故宮書畫圖錄，第二冊，頁227-228""], ""參考書目"": ""1.譚怡令，〈宋魯宗貴春韶鳴喜〉，收入譚怡令編，《呂紀花鳥畫特展》（臺北：國立故宮博物院，1995年初版），頁107。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000128N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000128N000000000')""}]}"
-14803,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14803?dep=P&mode=full,宋錢選畫荔枝　軸,"{""文物統一編號"": ""故畫000131N000000000"", ""作品號"": ""故畫00013100000"", ""品名"": ""宋錢選畫荔枝　軸"", ""分類"": ""繪畫"", ""作者"": ""錢選"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""156.7x35.6""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""錢選\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""吳興錢選舜舉製"", ""書體"": ""行楷書"", ""全文"": """", ""印記資料"": [{""印主"": ""錢選"", ""印記"": ""舜舉""}]}, {""題跋類別"": ""題跋"", ""作者"": ""牟巘\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""陵陽牟獻之題"", ""書體"": ""行書"", ""全文"": ""紅棉花底聽春歌。我為東坡織絳羅。一百餘年前後事。詩思畫筆等閒過。陵陽牟獻之題。"", ""印記資料"": [{""印主"": ""牟巘"", ""印記"": ""巘""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""抑齋居士""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""致和齋""}, {""印記類別"": ""收傳印記"", ""印主"": ""畢瀧"", ""印記"": ""婁東畢瀧澗飛氏藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""速八哈赤不花"", ""印記"": ""速八哈赤不花""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""果蔬"", ""主題(第二層)"": ""荔枝"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": ""荔枝樹""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""夏景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": ""草""}]","[{""技法"": ""雙鉤"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈三編（延春閣），第四冊，頁1528"", ""故宮書畫錄（卷五），第三冊，頁109"", ""故宮書畫圖錄，第二冊，頁245-246""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000131N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000131N000000000')""}]}"
-13970,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13970?dep=P&mode=full,宋錢選三蔬圖　軸,"{""文物統一編號"": ""故畫000133N000000000"", ""作品號"": ""故畫00013300000"", ""品名"": ""宋錢選三蔬圖　軸\nThree Vegetables"", ""分類"": ""繪畫"", ""作者"": ""錢選,Qian Xuan"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""97.6x47.4""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""29.1x47.4""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}, {""質地位置"": ""詩塘"", ""質地"": ""紙""}]","[{""題跋類別"": ""題跋"", ""作者"": ""高士奇\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""康熙己卯秋八月五日。書於柘上簡靜齋。江村高士奇。竹窗。"", ""書體"": ""行楷書"", ""全文"": ""河渚西邊舊草堂。為園半畝菜花香。多年卻飽官厨味。操履平生守未忘。雪壓書牕齩菜根。逢時方丈厭羔豚。萬錢尚道箸難下。不念田間有禮昏。柘湖奉母樂閒居。插竹編籬課種蔬。露飽霜酣滋味好。加餐不覓養生書。余園蔬香。得錢舜舉三蔬圖。甚愜素懷。且落筆寫生。迥出畫家窠臼。因題三詩。比來日食一菜。自��此。不足為外人道耳。康熙己卯秋八月五日。書於柘上簡靜齋。江村高士奇。竹窗。"", ""印記資料"": [{""印主"": ""高士奇"", ""印記"": ""士奇""}, {""印主"": ""高士奇"", ""印記"": ""高澹人""}]}, {""題跋類別"": ""題跋"", ""作者"": ""高士奇"", ""位置"": ""本幅"", ""款識"": ""康熙己卯八月十九日。愁霖初霽。六合清朗。抱瓮翁奇再記。"", ""書體"": ""行楷書"", ""全文"": ""趙文敏題錢舜舉茄菜二圖云。天上歸來兩鬢皤。山園近日竟如何。年年五月黃梅雨。老瓦盆中此味多。歸老林泉無外慕。盤中野菜飯黃糧。交遊來徃休相笑。肉味何如此味長。至治元年五月廿二日。公謝事歸來所作也。與余意有合。故書於此。康熙己卯八月十九日。愁霖初霽。六合清朗。抱瓮翁奇再記。""}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""乾隆甲戌（西元一七五四年）孟春。御題。即用高士奇韻。"", ""書體"": ""行書"", ""全文"": ""留下尋那見草堂。三蔬展尚欲生香。熾然一切有為法。了識何曾者箇忘。 離披畦畔復籬根。淡味端知勝碩豚。偶憶湖西親所見。綠含烟甲濕黄昏。玉堂侍從暫家居。博古餘間學圃蔬。此意足驚俗耳目。不堪兼致絕交書。乾隆甲戌（西元一七五四年）孟春。御題。即用高士奇韻。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾""}, {""印主"": ""清高宗"", ""印記"": ""隆""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": """", ""書體"": ""行書"", ""全文"": ""秋圃真香。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}, {""印主"": ""清高宗"", ""印記"": ""琴書道趣生""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""庚子（西元一七八０年）暮春。叠甲戌（西元一七五四年）韻再題。"", ""書體"": ""行書"", ""全文"": ""西湖本有讀書堂。行篋携來翰墨香。原係舊臣家弃物。豈真操履守毋忘。瓜菜紫茄各具根。了當淡味勝雞豚。竹窗重舉王孫句。為利頗知令智昏。勝處旬朝駐蹕居。霅溪即景玩三蔬。可知學圃佐農務。得句還教幀裏書。庚子（西元一七八０年）暮春。叠甲戌（西元一七五四年）韻再題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""會心不遠""}, {""印主"": ""清高宗"", ""印記"": ""德充符""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""高士奇"", ""印記"": ""抱瓮翁""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""八徵耄念之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""五福五代堂古稀天子寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""果蔬"", ""主題(第二層)"": ""茄子"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""果蔬"", ""主題(第二層)"": ""蔬菜"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": ""草""}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""寫意"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈續編（懋勤殿），第七冊，頁3552"", ""故宮書畫錄（卷五），第三冊，頁111"", ""故宮書畫圖錄，第二冊，頁249-250""], ""參考書目"": ""邱士華，〈宋錢選三蔬圖　軸〉，收入邱士華主編《行篋隨行-乾隆南巡行李箱中的書畫》（臺北：國立故宮博物院，2017.03），頁108-111。""}","{""說明"": ""本院文物保存維護依〈國立���宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000133N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000133N000000000')""}]}"
-949,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/949?dep=P&mode=full,宋人千巖萬壑　軸,"{""文物統一編號"": ""故畫000135N000000000"", ""作品號"": ""故畫00013500000"", ""品名"": ""宋人千巖萬壑　軸\nMyriad Peaks and Valleys"", ""分類"": ""繪畫"", ""數量"": ""一軸"", ""作品語文"": ""漢文""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""126.3x49.7""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}]","[{""題跋類別"": ""題跋"", ""作者"": ""陳儀\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""陳儀"", ""書體"": ""楷書"", ""全文"": ""□□佳氣□氤氳。臺殿參差出莫雲。□□隔溪涼似水。清琴誰解和南薰。陳儀。"", ""印記資料"": [{""印主"": ""陳儀"", ""印記"": ""子容""}]}, {""題跋類別"": ""題跋"", ""作者"": ""傳純\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""復齋"", ""書體"": ""楷書"", ""全文"": ""上方樓閣壓層巒。萬壑千巖入座看。我亦醉吟歸去晚。滿身空翠逼人寒。復齋。"", ""印記資料"": [{""印主"": ""傳純"", ""印記"": ""傳純之印""}]}, {""題跋類別"": ""題跋"", ""作者"": ""劉昭\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""劉昭"", ""書體"": ""楷書"", ""全文"": ""山可為樵水可漁。□青樓閣□扶疎。□來風景渾如夢。誰得□情賦隱居。劉昭。"", ""印記資料"": [{""印主"": ""劉昭"", ""印記"": ""劉昭□""}, {""印主"": ""劉昭"", ""印記"": ""乾坤□""}]}, {""題跋類別"": ""題跋"", ""作者"": ""陳韶\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""勾乘陳韶"", ""書體"": """", ""全文"": ""雨過春山水滿谿。淡雲□樹有鸚啼。抱琴人去千□(巖)裡。不似劉郎洞□迷。勾乘陳韶。"", ""印記資料"": [{""印主"": ""陳韶"", ""印記"": ""陳氏伯善""}]}, {""題跋類別"": ""題跋"", ""作者"": ""胡澂"", ""位置"": ""本幅"", ""款識"": ""胡澂"", ""書體"": """", ""全文"": ""會稽古稱□(山)水郡。一見圖畫清我眸。何當借取謝□(安)屐。雲門禹穴得恣遊。胡澂。""}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""汲郡林氏家藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""李肇亨"", ""印記"": ""檇李鶴夢軒李氏珍藏""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""百姓"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": ""驢""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""房舍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主��"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""漁船"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": ""卷雲皴""}]","{""內容簡介"": ""水墨畫溪藪間，群山疊起。近景作三松，松下洲渚橫斜，溪流折曲。隔岸，另見村居寺觀，集於山麓。遠景巒峰，嵯峨高起，有軒然高舉之勢。 上方有陳儀、傅純、劉昭、陳韶、胡澂五人題識，惟作者尚不可考。若由書風判斷，與元末明初最近。因畫中筆墨，全循李（成）郭（熙）一派，是以推斷本幅之成作年代約為元朝。"", ""Description"": ""In this monochrome ink painting, tiers of peaks rise above the marshy stream in the valley. Three large pines rise on the foreground slope, while a stream meanders back and forth among earthen banks. A village and temple buildings are clustered on the mountainside. A stream winds down from the heights until bursting out in the river valley. Although we know the authors of the inscriptions at the top of the painting, the identity of the artist remains unknown. Based on style, the painting appears to date from the late Yuan or early Ming (late 14th c.). Since the technique follows the tradition of Li Ch'eng and Kuo Hsi, it indicates that the work was done in the late Yuan."", ""收藏著錄"": [""石渠寶笈初編（御書房），下冊，頁1155"", ""故宮書畫錄（卷五），第三冊，頁113"", ""故宮書畫圖錄，第二冊，頁281-282""], ""參考書目"": ""1.許郭璜，〈傳宋人千巖萬壑〉，收入《李郭山水畫系特展》（臺北：國立故宮博物院，1999年初版），頁75-76。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000135N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000135N000000000')""}]}"
-14,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14?dep=P&mode=full,唐李思訓江帆樓閣　軸,"{""文物統一編號"": ""故畫000003N000000000"", ""作品號"": ""故畫00000300000"", ""品名"": ""唐李思訓江帆樓閣　軸\nRiver Sails and Lofty Buildings"", ""分類"": ""繪畫"", ""作者"": ""李思訓,Li Sixun"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""101.9x54.7""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""收傳印記"", ""印主"": ""安岐"", ""印記"": ""安""}, {""印記類別"": ""收傳印記"", ""印主"": ""安岐"", ""印記"": ""儀周鑑賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋理宗"", ""印記"": ""緝熙殿寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""帆船"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""漁船"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""楊柳"", ""主題說明"": """"}]","[{""技法"": ""界畫"", ""技法細目"": """"}]","{""內容簡介"": [""畫中建物依山勢而蓋，堂屋大門左右有廊，正殿重檐歇山頂，檐下柱頭上施一斗三升，牆上安直櫺窗。斗栱、梁柱用朱色粉刷，所謂「白壁丹楹」，與青綠山水相間，金碧輝映。古代屋舍之制：「非品官毋得起門屋，非宮室寺觀毋得彩畫棟宇及朱漆梁柱窗。」此建築級別較高，應是官員鄉間宅第。李思訓（六五一—七一八）唐宗室，甘肅天水人，玄宗時官至右武衛大將軍。"", ""畫中建築依山勢而蓋，堂屋大門左右有廊，正殿重檐歇山頂，灰瓦覆蓋，下檐斗栱用材較大，柱頭上施一斗三升，牆上安直櫺窗。此圖斗栱、梁柱用朱色粉刷，所謂「白壁丹楹」，與青綠山水相間，金碧輝映。 畫中為官員宮室或寺觀之類的建築。依據畫中晚唐、北宋服飾與建築特點, 應是宋徽宗畫院的仿作，李思訓（約653－718），唐宗室，字建，甘肅天水人。玄宗開元初，官至右武衛大將軍。(20061206)"", ""江天闊渺，風帆溯流，山嶺間長松、翠竹掩映，山徑層疊，文人雅士悠游其間。全作設色穠麗古雅，山石用墨線鉤勒輪廓，青綠渲染，不見皴筆。圖案化的夾葉饒富裝飾意趣。此幅無作者款印，依據舊籤定名。李思訓（約653－718），唐宗室，善畫青綠山水，風格工巧繁縟。雖然此幀的構圖與畫樹竹的筆法，皆與唐畫不類，但保存了唐代青綠山水的遺風，是研究李思訓山水的一件重要作品。(20110913)""], ""Description"": [""By a vast expanse of sky and river appear sails in the wind going against the flow. In the shade of tall pines and verdant bamboo along the mountain ridges are layered pathways where literati and gentlemen leisurely stroll. The coloring throughout is luxuriantly beautiful and classically archaic, with strokes of ink to outline and define the landscape forms. Washes of blue and green were added, but texture strokes are not to be found here. The patterned outlining of the leaves also has a strong decorative effect. This work bears neither seal nor signature of the artist, but Li Sixun is given as the artist in the old title label. Li Sixun, a member of the Tang imperial clan, excelled at painting blue-and-green landscapes in a style both exquisite and complex. Although both the composition and brushwork for rendering the trees and bamboo here are unlike those found in Tang paintings, this work still preserves traces of Tang blue-and-green landscapes, making it an important example for the study of Li Sixun’s landscape painting.(20110913)"", ""The buildings here were constructed along the slope of a hillside, and to the left and right of the entrance to the hall are corridors. The main building has a flaring rooftop composed of multiple eaves covered with earthenware tiles. The materials used for the brackets below the eaves are large; the column heads support triple brackets, while the walls are arranged with screen window panels. The bracketing system as well as beams and columns in this work were painted in red in the so-called “red column, white wall” manner. Combined with the blue-and-green landscape painting, it creates a resplendent effect. Depicted here is the building of an official or that of a temple. Based on the late T'ang dynasty and Northern Sung features of the architecture and clothing of the figures, this is probably an imitation done at the Painting Academy under Emperor Hui-tsung. Li Ssu-hsun, to whom this painting was originally attributed, was a member of the T'ang imperial family who went by the style name Chien and was a native of T'ien-shui, Kansu. In the early part of the K'ai-yuan era under Emperor Hsuan-tsung, he served to the post of Right Militant Guard General-in-chief.(20061206)"", ""The hip-and-gable roof of this building has double eaves. The bracket timber is large, while the tripartite brackets distribute the weight of the roof to the columns. Lattice windows decorate the walls. Brackets, beams, and columns are red. Standing out against the walls in the \""white-and-red\"" style, they complement the \""blue-and-green\"" style of landscape. This complex correlates well with ancient regulations for important buildings. Consequently, this was perhaps the countryside home of an official. Since the clothing is that of the High T'ang and the architecture that of the Sung, this was probably done in the Northern Sung (960-1126). Li Ssu-hsun, to whom this painting is attributed, was best known for his colored landscape paintings.""], ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁2"", ""故宮書畫圖錄，第一冊，頁9-10""], ""研究性論著"": ""江天闊渺，風帆 斥流，微風劃過水面波紋粼粼。 山徑層疊，各樣林木錯落參差，前景殿堂隱蔽於長松秀嶺之間，松葉古意樸拙。 畫中人物數人，行旅騎馬於蹬道者頭戴中唐以後 巾僕頭。 畫山水樹石筆格遒勁，與敦煌中晚唐壁畫近似。 此畫與北京故宮所藏隋展子虔「游春圖」左半段構圖幾乎相同，兩圖實出於同一個底本，此圖是掛軸，景物保存原來手卷或屏風的一部份。 根據畫中出現晚唐與北宋服飾與建築特點，此畫應該是北宋徽宗（一一���一—一一二五）畫院時的仿作，其底本與展子虔畫風有關。（註 1）\r\n畫中左方院落建物依山勢而蓋，為適應地形環境將院門開在東側，南北接廊，院子內堂室呈南北向，不是傳統中軸對稱型布局。 畫家採俯瞰構圖法，觀者可窺透堂屋院內，正房重檐歇山頂灰瓦覆蓋，檐下均有斗栱。 在兩柱頭之間的闌額（柱頭之間的水平構件，隋唐已普遍設於柱頭間，有利於整體構架的穩定。）上有補間鋪作，施「一斗三升」。 房舍建於台階之上，牆上安直櫺窗、格子門。 此圖斗栱、柱、梁、枋用朱色粉刷，與青綠山水相間，金碧輝映。（註 2）根據唐宋屋舍之制：「非品官毋得起門屋，非宮室寺觀毋得彩畫棟宇及朱漆梁柱窗。 」此建築級別較高，結構華美，故所畫應為官員之鄉間四合院宅第。  \r\n李思訓（六五一—七一八）唐宗室，字建，一字建景，甘肅天水人。 曾任左羽林大將軍，玄宗即位開元初，官右武衛大將軍。 \r\n註1 :  傅熹年<論幾幅傳為李思訓畫派金碧山水的繪製時代>，<<文物>>1983年第11 期。\r\n註2 : 中國在木材面上塗飾起源很早，<<尚書 ‧ 書經>>「若作梓材… 其惟其塗丹 」所謂「白壁丹楹」、「朱柱素壁」。 唐代以前建築色彩以朱、白兩色為主，牆面一律用白色，木架部份一律用朱色。(林莉娜)"", ""參考書目"": [""1.王耀庭，〈唐李思訓江帆樓閣〉，收入王耀庭編，《青綠山水畫特展圖錄》（臺北：國立故宮博物院，1995年七月初版一刷），頁75。\r\n2.林莉娜，〈(傳)唐李思訓江帆樓閣〉，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18-19、96。\r\n3.陳韻如，〈唐李思訓江帆樓閣　軸〉，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252-255。\r\n4.〈唐李思訓江帆樓閣〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁194。\r\n5.趙鐵銘、王瑾，〈文物辭典〉，《故宮文物月刊》，第1期（1983年4月），頁141。\r\n6.本社，〈唐李思訓江帆樓閣〉，《故宮文物月刊》，第33期（1985年12月），封底裡。"", ""林麗江，〈唐李思訓江帆樓閣　軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁90-91。""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000003N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000003N000000000')""}]}"
-16,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/16?dep=P&mode=full,唐李昭道湖亭遊騎　軸,"{""文物統一編號"": ""故畫000004N000000000"", ""作品號"": ""故畫00000400000"", ""品名"": ""唐李昭道湖亭遊騎　軸\nRiding to a Lakeside Pavilion"", ""分類"": ""繪畫"", ""作者"": ""李昭道,明人 Anonymous,Ming Dynasty"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""112.1x63.5""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""李昭道"", ""位置"": ""本幅"", ""款識"": ""李昭道畫"", ""書體"": """", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": ""吳全節"", ""印記"": ""吳氏全節""}, {""印記類別"": ""收傳印記"", ""印主"": ""仇遠"", ""印記"": ""南陽家藏""}, {""印記類別"": ""收傳印記"", ""印主"": ""黃日起"", ""印記"": ""筠菴""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""仕女"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""石磴、棧道"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""馬"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""楊柳"", ""主題說明"": """"}]",,"{""內容簡介"": [""李昭道（約西元八世紀初）是李思訓的兒子，甘肅天水人。他最擅長於畫山水，並且能發揚家學，與他的父親大李將軍齊名，號稱小李將軍。李家畫山水，構圖複雜而巧妙。常以均勻的細筆鈎畫出山石樹木輪廓，再填染赭石、石青、石綠等濃重的顏色。還常再加上泥金的線條，襯在山石輪廓線的內側，特別顯出金碧輝煌的感覺。後人稱為「青綠」山水，為「北宗」所主。這一幅是屬於李家山水法，畫幅右下角有「李昭道畫」的落款。"", ""本幅構圖複雜而巧妙。以均勻的細筆鉤畫出山石樹木輪廓，填染赭石、石青、石綠等濃重的顏色。再加上泥金的線條，襯在山石輪廓線的內側，呈現金碧輝煌的感覺。原題為〈唐李昭道湖亭遊騎〉，畫幅右下角「李昭道畫」落款，應為偽加。李昭道（約西元八世紀初）是李思訓的兒子，甘肅天水人。擅長畫山水，並能發揚家學。就此幅的構圖、畫法而言，應為十七世紀晚明仿古之作。(20120103)""], ""Description"": [""The composition here is complex and ingenious. The outlines of trees, rocks, and mountains are in steady, even lines using a fine brush and then filled with thick, opaque mineral pigments, such as ochre, azurite, and malachite. Thin gold lines were added to the colors, defining the rock and mountain patterns while creating a colorful, shimmering surface. The original label for this work ascribes it to Li Zhaodao (fl. ca. early 8th c.) of the Tang. In the lower right is the signature, “Painted by Li Zhaodao,” that is probably spurious. Li, son of Li Sixun and native to Tianshui, Gansu, excelled at painting landscapes and followed the family style. Judging from the composition and painting style here, it is probably a 17th-century archaic imitation from the late Ming.(20120103)"", ""Li Chao-tao, the son of Li ssu-hsun, was born in T'ien-shui in Kansu province. He excelled in painting landscapes in the style invented by his father. The two Li's are equally famous and are usually referred to as the \""Elder General Li\"" and the \""Younger General Li\"". Landscapes in the Li family style are characterized by complex compositions filled with minute details. Often trees, rocks, and mountains are drawn with a steady, even line using a very thin brush. These outlines are then filled in with thick, opaque mineral pigments, such as iron red, azurite blue, and malachite green. Thin gold lines are often added on top of these colors to define the patterns on the surfaces of rocks and mountains, creating the impression of a brilliant, shimmering surface of precious materials. Later critics called this style the \""Blue and Green\"" manner and considered it the beginning of the \""Northern School\"" of Chinese painting. This painting belongs to the Li family tradition of painting and bears the signature of Li Chao-tao at the lower right."", ""Li Chao-tao, a member of the T'ang imperial clan, was active in Hsuan-tsung's reign (713-755). According to painting histories, Li Chao-tao's father, Li Ssu-hsun, specialized in landscape painting and served as Left General-in-chief of the Militant Guard, hence known as “Greater General Li” then. With his father's guidance, Li Chao-tao followed his study of painting, which is why he was praised as “Lesser General Li”. This blue-and-green landscape in the fine-line manner, with its even strokes, delicately delineates the outlines of various forms, such as the mountains and trees. They were then filled with hues of ochre, malachite, and azurite, leading one to imagine the bright and dazzling colors along with the brilliant brushwork when originally done.""], ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁2-3"", ""故宮書畫圖錄，第一冊，頁11-12""], ""參考書目"": ""1.國立故宮博物院編輯委員會，〈唐李昭道湖亭遊騎〉，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54。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000004N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000004N000000000')""}]}"
-12,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/12?dep=P&mode=full,唐人春郊遊騎圖　軸,"{""文物統一編號"": ""故畫000014N000000000"", ""作品號"": ""故畫00001400000"", ""品名"": ""唐人春郊遊騎圖　軸\nTraveling on Horseback on a Spring Outing"", ""分類"": ""繪畫"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""150.5x104.5""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾清宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""官員（臣）"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""春景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""馬"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""麻雀"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""耕織漁獵"", ""主題說明"": ""打獵""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": ""壺""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""樂器"", ""主題說明"": ""琴；笛""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""櫸"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(勻稱線條)"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""披麻皴""}]","{""內容簡介"": [""遊騎七人，畫幅中間一人上身呈正面，穿著與其他六人不同，應是畫中的主人。前二人引導，後四人有的拿弓，有的拿毬棍，有的挾著琴，有的背酒，前顧後盼，各有神態。樹葉雙鉤填彩，岩石、流水和激湍都是仿古的鉤勒法，有裝飾的意味。背景樹石的構圖和院藏另一件傳為韓幹「猿馬圖」相似，不過筆墨稍遜，可能出自同一幅稿本。\r\n這幅畫沒有作者的款印，舊傳為唐人。從畫法看，時代較晚，畫中主人正面像類似明代中期畫皇帝像風格，可能出自明代宮廷畫家之手。"", ""遊騎七人，畫幅中間一人上身呈正面，穿著與其他六人不同，應是畫中的主人。前二人引導，後四人有的拿弓，有的拿毬棍，有的挾著琴，有的揹酒，前顧後盼，各有神態。背景樹石的構圖和院藏另一件傳為韓幹〈猿馬圖〉相似，可能出自同一幅稿本。這幅畫沒有作者的款印，舊傳為唐人。從畫法看，畫中主人正面像類似明代中期畫皇帝像風格，可能出自明代宮廷畫家之手。(20100710)""], ""Description"": [""In this work are 7 riders on a horseback outing. The figure in the middle appears frontal and wears clothing different from the others, suggesting he may be the host of the trip. Two figures are in the lead, and others behind carry such items as a sword, polo club, lute, and wine. The composition of trees and forms in the background is similar to another work in the Museum collection, “Gibbons and Horses” attributed to Han Gan (fl. 8th c.), and may have come from the same original. This work has no seal or signature of the artist and has an old attribution to a Tang artist. The method of frontal rendering for the host in the center is similar to imperial portrayals in the middle Ming (1368-1644), suggesting it may have been done by a Ming court artist.(20100710)"", ""In this painting, seven riders are seen on an outing. The figure in the center is rendered frontally and wears clothing different from the other six, indicating that he may be the host. Two figures are in the lead and the others are behind carrying such items as a sword, polo club, lute, and wine. The tree leaves were done in outlines filled with colors, while the earthen forms and water were all done in imitation of an ancient method of outlining and washes of color to give the painting a decorative effect. The trees and forms in the background are similar to those in a painting attributed to Han Kan (fl. 8th c.) entitled \""Gibbons and Horses\"" in the Museum collection, but slightly weaker in terms of brush and ink. It thus may have been done after the same original.\r\nThis painting bears neither signature nor seal of the artist and was attributed in the past to an anonymous artist of the T'ang. Judging from the style, the painting appears to date to a later period. The host figure appears similar in manner to imperial portraits from the middle Ming dynasty (1368-1644), indicating that it may have come from the hand of a Ming court painter.""], ""收藏著錄"": [""石渠寶笈續編（乾清宮），第一冊，頁287"", ""故宮書畫錄（卷五），第三冊，頁13"", ""故宮書畫圖錄，第一冊，頁41-42""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000014N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000014N000000000')""}]}"
-15,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/15?dep=P&mode=full,五代梁關仝畫關山行旅　軸,"{""文物統一編號"": ""故畫000017N000000000"", ""作品號"": ""故畫00001700000"", ""品名"": ""五代梁關仝畫關山行旅　軸\nTravelers in a Mountain Pass"", ""分類"": ""繪畫"", ""作者"": ""關仝"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""144.4x56.8""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""乾隆丁卯御題"", ""書體"": ""行書"", ""全文"": ""來往何紛沓。關山自邐迆。步餘霜跡白。望裡峰容紫。沽酒向茅棚。問渡愁野水。妙矣畫中趣。悠哉畫外旨。誰非行旅人。竭然獨傳此。乾隆丁卯。御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""乾隆宸翰""}]}, {""題跋類別"": ""題跋"", ""作者"": ""王鐸"", ""位置"": ""畫軸下背後邊際"", ""款識"": ""王鐸為文老親翁。乙丑十二月初三日。"", ""書體"": """", ""全文"": ""關仝畫多縱橫博大。旁若無人。此幀精嚴。步驟端詳。或其擬項容郭恕先諸家歟。文蓀博學好古。珍若天球。不可輕褻也。王鐸為文老親翁。乙丑十二月初三日。""}]","[{""印記類別"": ""收傳印記"", ""印主"": ""元文宗"", ""印記"": ""天曆之寶""}, {""印記類別"": ""收傳印記"", ""印主"": ""明內府印"", ""印記"": ""司印（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""安岐"", ""印記"": ""安氏儀周書畫之章""}, {""印記類別"": ""收傳印記"", ""印主"": ""安岐"", ""印記"": ""思原堂""}, {""印記類別"": ""收傳印記"", ""印主"": ""賈似道"", ""印記"": ""悅生圖書""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""晉國奎章""}, {""印記類別"": ""收傳印記"", ""印主"": ""安岐"", ""印記"": ""麓村""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""古希天子""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮續入石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂��藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""百姓"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""商販"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""石磴、棧道"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""狗"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""寺廟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""店舖"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""籬笆、圍牆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""雁"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""雞"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""篷舟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]",,"{""內容簡介"": [""關仝，長安人（今陜西長安縣西北），五代梁時人。安儀周評本幅云：絹素厚硬，神氣煥然。中一大山高聳，四面渾圓，其雄偉之勢，令人駭目。山石輪廓，落筆有粗細斷續之分，皴法加之水墨皴染。其間山腰樓觀，溪面橋梁，茅屋野店，雜以雞太驢豕之屬，客旅往來，宛然真景。"", ""根據畫軸下方背後清初名書家王鐸寫於一六二五年的題識，本畫被歸為荊浩的學生關仝（活動於十世紀中期）之作。它的內容與〈秋山晚翠〉頗為不同，描繪著一個充滿人物活動的山谷景象。其中對行旅、旅店與村落中居民與牲畜等細節，掌握得十分生動。這讓人想起《宣和畫譜》中的關仝長於「村居野渡」、「漁市山驛」的記載。但在山體質面的處理上，此作則較為簡拙，或許不是關仝真蹟，而係學生輩，如商訓在十一世紀中期的創作。 此畫在村落部份有許多修補，左下角跪拜者前之伏地人物，顯然即為補絹上的後添之筆。(20061206)""], ""Description"": [""This painting, according to the 1625 inscription by the famous early Ch'ing calligrapher Wang T’o on the lower back of the scroll, is ascribed to Kuan T'ung, a student of Ching Hao. The contents, however, differ from those of “Late Greenery of Autumn Mountains” also on display here, depicting scenery of a mountain valley brimming with human activities. Among them, such details as figures traveling, people at an inn, and the livestock and village residents reveal a firm grasp of life in the countryside. It also reminds one of a record in the Northern Sung imperial catalogue Hsuan-ho Manual of Painting, describing Kuan T'ung as painting “village residences and rustic crossings” as well as “fishing markets and mountain stops”. However, in terms of the texturing of the mountains, this work appears slightly simplified and awkward. Although perhaps not an actual work by Kuan T’ung, it probably belongs to a later generation following his style, such as Shang Hsun, active in the mid-11th century. There are many repairs to the village part of this work. For instance, the figure in the lower left corner prostrating on the ground is obviously a later addition on the added patch of silk.(20061206)"", ""Kuan T'ung was a native of Ch'ang-an, Shansi. An I-chou has criticized this painting as follows: \""The silk is thick and stiff, but the vital spirit is vibrant, From the center of the painting rises a lofty mountain, imposing and awe-inspiring in appearance. The peaks and rocks are outlined, the brush being applied in thick, thin, broken, and continuous strokes. The mountains is skirted by storied buildings and a monastery. A bridge, thatched huts, and country shops complete this realistic scene, where travelers come and go amid a menagerie of chickens, dogs, mules, and pigs.\""""], ""收藏著錄"": [""石渠寶笈續編（寧壽宮），第五冊，頁2641"", ""故宮書畫錄（卷五），第三冊，頁16-17"", ""故宮書畫圖錄，第一冊，頁59-60""], ""參考書目"": ""1.陳韻如，〈五代梁關仝畫關山行旅　軸〉，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32-37。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000017N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000017N000000000')""}]}"
-18,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/18?dep=P&mode=full,五代南唐周文矩仕女圖　軸,"{""文物統一編號"": ""故畫000019N000000000"", ""作品號"": ""故畫00001900000"", ""品名"": ""五代南唐周文矩仕女圖　軸\nA Lady"", ""分類"": ""繪畫"", ""作者"": ""周文矩"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""180.9x102.1""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""仕女"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""貓（貍奴）"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""梧桐"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""月季　玫瑰　薔薇"", ""主題說明"": ""月季""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""草蟲"", ""主題(第二層)"": ""蝶蛾"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""黃鸝"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文房用具"", ""主題說明"": ""線裝書""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}, {""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""苔點"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""周文矩（西元十世紀）建康句容（今南京）人。仕後主李煜為翰林待詔，善繪冕服車器，尤工人物仕女。所作人物，線條率皆細勁曲折，圓潤流暢，間作顫動之勢，飄逸自若，不令墮入吳（道子）曹（弗興）之舊習，故能自成一家面目。至若綺羅仕女，雖近承唐代周昉，惟其纖細秀麗，益有過之。本幅畫桐陰仕女憑欄展卷，旁見一貍奴相伴。圖中並無名款，觀其衣紋，轉折剛健，與文矩風格相去遠甚，當屬後世收藏者擅自附名，乃有此標題。"", ""Description"": ""Chou Wen-ch', a native of Ch'-jung, Chien-k'ang (modern Nan-king), served the Southern T'ang ruler Li Yu as a Painter-in-Attendance at the Hanlin Academy. He excelled at paintings elaborate costumes and carriages, but was famous for his figure paintings, especially those of women. These he drew with delicate twisting, segmented lines of great fullness and fluidity, sometimes employing a graceful, waving line. He did not just merely slavishly emulate the styles of the famous painters Wu Tao-tzu (fl. ca. 710-760) or Ts'ao Pu-hsing (fl. third century) but created his own unique manner. His paintings of beautiful women reflect the influence of Chou Fang (fl. 780-804) but are even lovelier and finer than his. In the shade of a firmiana tree a young woman, a cat by her side, casually leans against a balustrade, reading a book. The painting does not bear the artist's signature and was probably given its current attribution by a later collector. In terms of brushwork, the forceful turning and twisting lines that model the woman's robes are far from Chou-ch's style."", ""參考書目"": [""劉芳如，〈五代南唐周文矩仕女圖　軸〉，收入劉芳如主編《她-女性形象與才藝》（臺北：國立故宮博物院，2020.10），頁30-31、247。"", ""1.劉芳如，〈明人仕女圖（舊傳五代南唐周文矩）〉，收入劉芳如、張華芝主編，《群芳譜 — 女性的形象與才藝》（臺北：國立故宮博物院，2003年初版一刷），頁49。\r\n2.劉芳如，〈五代南唐周文矩仕女圖〉，收入國立故宮博物院編輯委員會編，《仕女畫之美》（臺北：國立故宮博物院，1988年四月初版），頁75。""], ""收藏著錄"": [""石渠寶笈三編（乾清宮），第一冊，頁477"", ""故宮書畫錄（卷五），第三冊，頁18"", ""故宮書畫圖錄，第一冊，頁67-68""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000019N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000019N000000000')""}]}"
-796,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/796?dep=P&mode=full,五代南唐巨然秋山問道圖　軸,"{""文物統一編號"": ""故畫000021N000000000"", ""作品號"": ""故畫00002100000"", ""品名"": ""五代南唐巨然秋山問道圖　軸\nSeeking the Tao in Autumn Mountains"", ""分類"": ""繪畫"", ""作者"": ""巨然,Juran"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""156.2x77.2""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""收傳印記"", ""印主"": ""明內府印"", ""印記"": ""司印（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""王鑨"", ""印記"": ""孟津王鑨世寶""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""琅玡世家""}, {""印記類別"": ""收傳印記"", ""印主"": ""蔡京"", ""印記"": ""蔡京珍玩（墨印）""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""秋景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": ""披麻皴""}]","{""內容簡介"": [""巨然，南唐鍾陵人，為開元寺僧。南唐亡（西元九七五年），隨後主李煜降宋，至汴梁。工畫山水，師事董源，善畫煙嵐景象，臻於妙境。與師齊名，並稱董巨。緣溪小徑蜿蜒深入，山塢中有茅屋四間，一人堂上坐，旁坐一客，庭宇肅然。屋後高山巍峙，山脊多作礬頭平頂，錯列其間，山石皴紋採用長披麻法。兩山交接處，多作長林雜樹，於莊嚴雄偉中，特饒山林煙靄之勝，是為其畫特色。"", ""巨然（活動於10世紀後半），南唐鍾陵人，為開元寺僧。南唐亡後，��後主李煜降宋，至汴梁。工畫山水，師事董源，善畫煙嵐景象，臻於妙境。與師齊名，並稱董巨。\r\n緣溪小徑蜿蜒深入，山塢中有茅屋四間，一人堂上坐，旁坐一客，庭宇肅然。屋後高山巍峙，山脊多作礬頭平頂，錯列其間，山石皴紋採用長披麻法。兩山交接處，多作長林雜樹，於莊嚴雄偉中，特饒山林煙靄之勝，是為其畫特色。\r\n(20110913)""], ""Description"": [""Juran was a native of Zhongling (modern Nanjing) and a monk at the Kaiyuan Temple. After the Southern Tang was vanquished, he followed its ruler, Li Yu (Houzhu), in surrendering to the Song and going to the capital of Bianjing. Juran was good at painting landscapes, studying with Dong Yuan and excelling at hazy and misty scenery that reaches a marvelous realm. He achieved fame equal to his teacher, so they became known together as “Dong-Ju.”\r\nA narrow path follows a stream winding its way deep into a mountain glen where four thatched huts are hidden. A man sits in the center of an open room with a guest to his side, and the dwelling seems to rest in respectful silence under the mountain’s lofty dominance. Flat terraces and giant boulders are piled along the mountain ridges, and steep slopes are separated by tall trees gathered in the valleys. The rocks and mountains are done in the long “hemp-fiber” method of texturing. Where the two mountains intersect are many different trees. In the dignified majesty is a special sense of mists surrounding mountains and forests, giving this painting its character.\r\n(20110913)"", ""Ch'-jan was a native of the Kiangsu province and was a monk at the K'ai-y'an temple in the Southern T'ang State. When that state fell to the Sung emperor in 975, he followed Li Y', its deposed ruler, to the Sung capital at K'ai-feng. He was a skilled landscape artist who carried the style of his elder contemporary Tung Y'an (fl. 937-975) on to fresh ground. Their names are linked with Ching Hao and Kuan T'ung as the great landscape masters of the tenth century. A narrow path follows a stream, winding its way deep into a mountain glen where four thatched huts hide away. A man sits in the center of an open room, a guest at his left. The dwelling seems to rest in respectful silence under the mountain's lofty dominance. Flat terraces and giant boulders pile up along the mountains ridges. The steep slopes are separated by tall trees gathered in the valleys. Through the massive and powerful mountain forms breathe evanescent forest mists.""], ""收藏著錄"": [""石渠寶笈三編（乾清宮），第一冊，頁481"", ""故宮書畫錄（卷五），第三冊，頁24"", ""故宮書畫圖錄，第一冊，頁93-94""], ""研究性論著"": ""北宋上半期的山水畫，以華北地區畫家居畫壇的重要地位。至北宋後半期，因米芾（1051-1107）大力推崇董源（約活動於十世紀上半葉）、巨然（約活動於十世紀下半葉），江南地區的董巨畫派因此逐漸受到重視。巨然師承董源，所畫之景緻嵐氣清潤，平淡天真，其風格與雄健峻峭的華北畫風相異其趣。\r\n本幅繪土山層疊，山形圓渾不做峻峭之崖壁，山頂有卵形巨石堆壘，名之為「礬頭」。以長弧形的線條皴山畫石，名之為「披麻皴」，筆勢柔暢，淡墨居多，饒清潤平淡之韻味。畫中尚有溪流幽徑，風蒲茅舍，一片江南風光。本幅是存世傳為巨然作品中重要之一件，惟其收傳印記「司印」之尺寸與習見者略小（註1），進而引起疑點之討論。（林柏亭）\r\n註1：傅申，（巨然存世畫蹟之比較研究），《故宮季刊》，二卷二期，（台北：國立故宮博物院，1967.10），頁62—63。"", ""參考書目"": ""1.林莉娜，〈五代南唐巨然秋山問道圖〉，收入林莉娜編，《秋景山水畫特展圖錄》（臺北：國立故宮博物院，1989年十月初版），頁62。\r\n2.傅申，〈巨然存世畫蹟之比較研究〉，《故宮季刊》，第二第二期（1967年十月)，51-79。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000021N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000021N000000000')""}]}"
-14444,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14444?dep=P&mode=full,五代後蜀黃筌勘書圖　軸,"{""文物統一編號"": ""故畫000026N000000000"", ""作品號"": ""故畫00002600000"", ""品名"": ""五代後蜀黃筌勘書圖　軸\nThe Reading Lesson"", ""分類"": ""繪畫"", ""作者"": ""黃筌"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""118.1x55.5""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""22.1x55.5""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}, {""質地位置"": ""詩塘"", ""質地"": ""絹""}]","[{""題跋類別"": ""題跋"", ""作者"": ""葉詵\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""正統庚申八月海虞葉詵識"", ""書體"": """", ""全文"": ""世之人愛其子者。但知積金買田。以為長久豐裕之計。教之以讀書力學。曾幾何哉。噫。此可謂徒知子之可愛。而不知愛之之道者也。昌黎韓公。其知愛子之道者歟。觀符讀書城南詩一章。要當可徵而不誣也。凡今之愛其子其可不取法於昌黎乎。於是乎言。正統庚申八月海虞葉詵識。"", ""印記資料"": [{""印主"": ""葉詵"", ""印記"": ""己酉□□""}, {""印主"": ""葉詵"", ""印記"": ""（一印漫漶不可識）""}]}, {""題跋類別"": ""題跋"", ""作者"": ""沈周\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""長洲沈周"", ""書體"": """", ""全文"": ""此黃筌勘書圖真蹟。余家舊藏物也。先人定為神品。既失之久。今獲見之。其快可知矣。所謂去國久者。見仙人而喜。何況親覿其人者乎。然吾家散落若此種者尚多。□不能不悒悒于斯圖矣。長洲沈周。"", ""印記資料"": [{""印主"": ""沈周"", ""印記"": ""啟南""}]}, {""題跋類別"": ""題跋"", ""作者"": ""董其昌觀\n印記\nexpand_more"", ""位置"": ""裱綾"", ""款識"": ""董其昌觀"", ""書體"": """", ""全文"": ""黃筌勘書圖真迹。此圖趙文敏曾有臨本。新都汪氏所藏。今以真本質之。知文敏去五代人尚自遠在。董其昌觀。"", ""印記資料"": [{""印主"": ""董其昌"", ""印記"": ""董氏玄宰""}]}]",,"[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""齋館"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""經史‧故事"", ""主題(第二層)"": """", ""主題說明"": ""勘書圖（韓愈）""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""孩童"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文房用具"", ""主題說明"": ""書、筆、墨、紙、硯""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": ""榻、桌、椅、几""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(勻稱線條)"", ""技法細目"": """"}, {""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": [""黃筌（約西元九O三—九六五年），事前蜀後主為待詔。黃筌傳世作品以花鳥最多，山水頗少見。此幅圖寫韓愈深明愛子之道，唯教以讀書之事。書法甚奇，沈周與董其昌之跋俱偽，以筆墨論，似為明代作品。\r\n畫中有案面兩頭翹起，兩足為豎條組成的板式足，足下安托子，保留隋唐以來直柵足跗的遺意。坐榻體大厚重，足下有托泥，形成箱形榻體亦以壺門裝飾。榻之三面以畫屏裝飾，屏風上繪墨竹。屋旁置有三層圓腿書籍架格。"", ""唐代韓愈為勉勵兒子韓符勤奮向學，作〈符讀書城南〉詩。詩中強調人之能為人，正因有學問，而學問唯靠勤勞獲得；且人年幼時雖相彷彿，漸長時卻因勤學與否而生殊異。此幅即圖寫韓愈深明愛子之道，教子以讀書之事。\r\n本幅傳稱黃筌（約西元九O三—九六五年）作。黃筌為五代前蜀後主待詔，作品多為花鳥，山水少見。本幅以筆墨論，或為明代作品。畫上沈周與董其昌跋俱偽。(20091016)""], ""Description"": [""Han Yu (768-824) of the Tang dynasty composed the poem “Fu’s Studies at Chengnan” to encourage his son, Han Fu, to study hard. The poem emphasizes that what makes a person is the ability to study texts, and such learning is only acquired through diligent practice. And though children grow up more or less the same, what makes some stand out is their diligence in study. This work depicts Han Yu’s great love for his child as he teaches him how to study, and it is attributed to Huang Quan (a Painter-in-Attendance at court who mostly did bird-and-flower subjects but few landscapes). The forms are outlined in brush and ink in what is probably a Ming (1368-1644) work. The Ming colophons by Shen Zhou and Dong Qichang here are also spurious.(20091016)"", ""Huang Ch'uan was a Painter-in-Attendance at the court of the Former Shu. Most of the surviving works attributed to him are birds-and-flowers, with landscapes exceptionally rare. This painting depicts Han Yu engaged in his favorite method of showing his love for his children--teaching them to do textual exegesis. Executed in an unusual style, this work bears false Ming (1368-1644) inscriptions by Shen Chou and Tung Ch'i-ch'ang. However, based on the use of brush and ink, it appears to date to the Ming dynasty.\r\n  Depicted in this painting is a table with everted flanges and legs made from panels of wood. Stabilizer bars provide further support. This style follows in the post-T'ang tradition of vertical rods for legs. The box-shaped platform is large and heavy with ground stretchers and cusped openings. Three sides of the platform are decorated with low screen paintings depicting bamboo in monochrome ink, and next to the building is a three-level book rack with round legs.""], ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁29-30"", ""故宮書畫圖錄，第一冊，頁117-118""], ""參考書目"": ""〈五代後蜀黃筌勘書圖　軸〉，收入國立故宮博物院編輯委員會、林莉娜主編《畫中家具特展》（臺北：國立故宮博物院，1996.10），頁14-15、109。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000026N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000026N000000000')""}]}"
-14453,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14453?dep=P&mode=full,五代後蜀丘文播文會圖　軸,"{""文物統一編號"": ""故畫000028N000000000"", ""作品號"": ""故畫00002800000"", ""品名"": ""五代後蜀丘文播文會圖　軸\nScholarly Gathering"", ""分類"": ""繪畫"", ""作者"": ""丘文播,Qiu Wenbo"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""84.9x49.6""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""古杭瑞南高氏藏畫記""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""宣和殿寶""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""高氏珍賞""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""雅尚齋""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""庭院"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文房用具"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文玩（琴棋書畫）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": ""榻""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": ""茶具；碗""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": [""丘文播（約活動於西元十世紀中期），擅畫佛道人物，此圖為高士夏日聚會情景。五代之後家具種類更趨豐富，箱形壺門床榻向寬大發展，使用場合較不固定，可在書齋、亭榭、庭院安設，為接待賓客與生活起居的重心。約在西元九世紀箱形平列壺門大榻有新的改進，框架結構打破邊框限制，下部蕊板消失，上部橫板雕成曲線紋，四角支柱豎直部份變成條板狀架於托泥上。床榻上另有一直方憑几，按古無桌椅，備几以為憑倚之用。此圖據丘文播稿本描摹，實際創作年代尚無定論。"", ""天保七年（556），北齊文宣帝命樊遜與諸州郡十一位秀才、孝廉校定群書。唐宋時期，已有〈北齊勘書圖〉的流傳。本畫即取自〈勘書圖〉中段，畫四人坐胡床，或展卷閱讀，或持筆書寫，旁有男女侍者持几、捧茶隨侍。旁配樹石，增添園林之趣。本幅無作者款印，舊傳為丘文播之作，然當依稿描摹，何時所成？尚無定論。\r\n丘文播（活動於10世紀中期），四川廣漢人。又名潛。初作釋道人物，兼繪山水。\r\n(20110913)""], ""Description"": [""In 556, Emperor Xuandi of the Northern Qi ordered Fan Xun along with eleven Cultivated Talents and Nominated Candidates from various prefectures to collate and proofread a collection of books. Later in the Tang and Song dynasties, paintings by the title “Collating Books in the Northern Qi” were already in circulation. This painting derives from the middle section of “Collating Books,” depicting four figures sitting on a large daybed engaged in such activities as opening scrolls and reading or holding a brush and writing. To the side are male and female attendants holding small trays and tea ready to serve. Rock and tree motifs add to and complement the garden scenery. This work has neither seal nor signature of the artist but was attributed in the past to Qiu Wenbo. When it was done as a tracing based on the original remains unknown.\r\n\tQiu Wenbo (also named Qian) was a native of Guanghan in Sichuan who first painted Buddhist and Taoist figures while also doing landscapes.\r\n(20110913)"", ""Ch'iu Wen-po excelled at painting Buddhist and Taoist figures. This work represents a gathering of scholars on a summer day, and, although it appears to be a close copy of Ch'iu Wen-po's work, the period in which it was executed has yet to be determined. After the Five Dynasties (907-960), the variety of furniture increased. The large box-shaped platform with cusped openings, for example, became wider and could be used in numerous places, such as studios, pavilions, and halls. It could also serve as both the center of gatherings or everyday life. In approximately the ninth century, the platform with cusped openings underwent a major change. The construction of the underlying frame began to depart from the restraints of the upper surface border. The floral decor of the lower portion disappeared and the horizontal board above increasingly became curved. The corner posts also became integrated into the stabilizing stretcher base below. In this painting, a small resting table has been placed on the platform. Since large tables and chairs were not used in antiquity, this type of small armrest was developed to lean on while seated on platforms.""], ""收藏著錄"": [""故宮書畫錄（卷三），第五冊，頁31"", ""故宮書畫圖錄，第一冊，頁125-126""], ""參考書目"": [""1.王耀庭，〈（傳）五代後蜀丘文播文會圖〉，收入王耀庭主編，《傳移模寫》（臺北：國立故宮博物院，2007年初版），頁32。"", ""〈五代後蜀丘文播文會圖　軸〉，收入國立故宮博物院編輯委員會、林莉娜主編《畫中家具特展》（臺北：國立故宮博物院，1996.10），頁12-13、108-109。""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000028N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000028N000000000')""}]}"
-14446,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14446?dep=P&mode=full,五代人雪漁圖　軸,"{""文物統一編號"": ""故畫000029N000000000"", ""作品號"": ""故畫00002900000"", ""品名"": ""五代人雪漁圖　軸\nFisherman on a Snowy Day"", ""分類"": ""繪畫"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""62.1x32.7""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""御書房鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": ""漁夫""}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""服飾（對人）"", ""主題說明"": ""斗笠；簑衣""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""耕織漁獵"", ""主題說明"": ""釣竿""}]","[{""技法"": ""人物衣紋描法(勻稱線條)"", ""技法細目"": """"}]","{""內容簡介"": ""大雪紛飛，江岸叢竹被積雪壓得朝下低垂，對岸也籠罩在一片灰白��雪色中。立於岸邊的漁翁，縮頸掩口，笠帽簑衣滿是雪花，不禁有刺骨寒意襲來。雪竹不用留白，而以白粉加塗，別有積雪渾厚之感。本幅畫意，出自唐人鄭谷〈雪中偶題〉：「亂飄僧舍茶煙溼，密灑歌樓酒力微。江上晚來堪畫處，漁人披得一簑衣。」"", ""Description"": ""A heavy snow flies and covers clumps of bamboo and the opposite bank. A fisherman stands huddled and covering his mouth against the cold. His bamboo hat and straw coat are covered with snowflakes to suggest bone-chilling cold. For the snow-covered bamboo, the artist did not use the usual method in which the blank paper or silk indicates snow. Instead, he used white pigment. The subject of this work derives from the last line of the poem \""The Theme of Snow\"" by the T'ang dynasty (618-907) poet Cheng Ku:I drift from a monk's hut with the scent of tea, And drink wine with abandon in a tavern with girls. Late at night, the river looks like a painting, A fisherman pulls his clothes on his way home."", ""收藏著錄"": [""石渠寶笈初編（御書房），下冊，頁1154"", ""故宮書畫錄（卷五），第三冊，頁32"", ""故宮書畫圖錄，第一冊，頁133-134""], ""研究性論著"": ""此幅描寫冬天雪花紛飛，漁夫獨自在江邊行走的景象。江岸的叢竹，被積雪壓得朝下低垂，對岸也籠罩在一片灰白的雪色中。岸邊的漁翁，身穿藍衣白褲、紅帶草履，肩上背荷著一支釣竿，雙手拱縮於衣袖內，身體呈佝僂。冒著嚴冬寒雪的老翁，獨自地緩步前進，其笠帽、簑衣、衣袖、釣竿、江岸、葦葉均沾滿了雪花，整幅景象令人不禁有刺骨寒意襲來的感覺。\r\n    天空及江水用淡赭墨渲染而成，使整個背景看起來極具荒江冬寒的氣氛，頗符合北宋郭熙（西元11世紀）論畫所言「冬天雲氣黯淡」的境地。（註1）江渚中的三個石塊，底部皆用石青襯出；畫雪竹則先略施淡墨，再以白粉加塗，令人深感積雪渾厚。此外，如簑面、笠頂、江岸等處，無不以鉛粉敷染，以表示積雪；而漫佈於空中的小白點，乃用白粉彈灑而成，此種畫法又稱「彈粉法」，即以鉛粉為白，彈灑於畫面，以表示片片雪花飛舞。人物表情的描寫極是生動，老翁縮頸掩口，雙眉呈八字型，眉毛、鬍鬚除用墨染，還加用細筆描繪，仔細一瞧，並可發現鼻頭暈染成淡紅色，將那種畏縮於風雪的樣貌，栩栩如生地呈現出來。不過，相較之下，在簑衣、鞋、褲等線條的表現，卻不如臉部表情細膩，略顯單調而刻板。\r\n     畫幅上沒有任何款識，作者不詳。清乾隆年間（1736-1795）敕編的《石渠寶笈》僅紀錄其為五代（907-960）人筆，原貯藏於御書房。（註2）另據莊申先生考訂，認為此幅〈雪漁圖〉可能是《全唐詩》中，鄭谷(?-896左右)「雪中偶題」的詩意圖，詩句為：「亂飄僧舍茶煙溼，密灑歌樓酒力微。江上晚來堪畫處，漁人披得一簑衣」，並且提出此圖雖舊題五代人作，但據用筆、用色與絹本來判斷，都與其它的唐畫不相似，因此認為可能是五代或宋人按照上述「雪中偶題」之原本臨摹而成的。（註3）\r\n     不過，儘管這幅作品在冬景靜寂氣氛的營造上堪稱生動，但與五代、宋畫比較，無論從構圖空間缺乏遠近深度，以及葦葉、衣紋等運筆略呈板滯等方面看來，在風貌上還是略有差距，作品完成的時間猶待論定。據書畫處同僚討論，暫且推斷時代或可晚至明代後期、清初之際。（陳階晉）\r\n\r\n註1：郭熙，《林泉高致》，收錄於黃賓虹、鄧實編，《美術叢書》二集第七輯，（臺北：藝文出版社，1975），頁9.\r\n註2：國立故宮博物院編，《景印秘殿珠林‧石渠寶笈（下）》，（臺北：國立故宮博物院，1971），頁1154、1155。\r\n註3：莊申，〈雪漁圖小考〉，收錄於《中國畫史研究續集》，（臺北：正中書局，1972），頁213-225。"", ""參考書目"": ""1.陳階晉，〈五代人雪漁圖　軸〉，收入國立故宮博物院編輯委員會主編《文學名著與美術特展》（臺北：國立故宮博物院，2001.10），頁94、172-173。\r\n2.何傳馨，〈(原題五代人)雪漁圖〉，收入李玉珉主編，《古色：十六至十八世紀藝術的仿古風》（臺北：國立故宮博物院，2003年初版），頁240。\r\n3.陳階晉，〈「文學名著與美術」特展選介（一） 　傳五代人雪漁圖〉，《故宮文物月刊》，第218期（2001年5月），頁26-29。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000029N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('��畫000029N000000000')""}]}"
-14447,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14447?dep=P&mode=full,五代人浣月圖　軸,"{""文物統一編號"": ""故畫000030N000000000"", ""作品號"": ""故畫00003000000"", ""品名"": ""五代人浣月圖　軸\nLunar Cleansing"", ""分類"": ""繪畫"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""77.2x50.4""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""收傳印記"", ""印主"": ""宋理宗"", ""印記"": ""緝熙殿寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑覽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""仕女"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""夜景（月景）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""龍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""月季　玫瑰　薔薇"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""芙蓉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""秋葵"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""池水"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""庭院"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""祥瑞"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""節令與二十四節氣"", ""主題(第二層)"": ""中秋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""香爐．火盆"", ""主題說明"": ""香爐""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": ""欄杆；几；紈扇；托盤""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""樂器"", ""主題說明"": ""琴套""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""芭蕉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""梧桐"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(勻稱線條)"", ""技法細目"": """"}, {""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}]","{""內容簡介"": ""本幅畫明月倚天，皎潔瑩燦。曲欄庭院，虯松蒼鬱，梧桐欣茂，蕉葉挺翠。尚有芙蓉、蜀葵、雛菊等競吐芬芳，滿園秋意撩人。奇石上，蟠螭瀉水，激盪池中月影。盛裝婦人為其所惑，探手如欲撈之。旁有侍女三人，或臨案焚香，或捧物，或荷琴。人物衣紋線條剛健細勁，屬「鐵線描」一類，並有佐以金線者，披帛、裙帶且平行如「琴弦描」。畫幅無款印，舊標為五代，惟據服飾及器用形制觀之，應屬後世託名之作。"", ""Description"": ""In this painting, a bright moon hangs in the heavens, as unsullied and lustrous as jade. Below, a writhing pine and verdant paulownia tree shade a garden courtyard, where a winding balustrade frames an autumn scene perfumed with the scents of hibiscus, hollyhocks, and daisies. Perched on an ornamental rock, a coiling dragon fountain spews forth a stream of water into the basin below, rippling the moon's reflection there. A splendidly attired lady, moved by this sight, reaches forth as if to scoop the image from the water. One of her maids leans over a table to light incense; another, half-hidden by the green leaves of a plantain tree holds a zither. In terms of brushwork, the strong, elastic \""threads of iron\"" strokes that limn the women's robes are touched with gold. The ladies’ silken wraps and skirt sashes are modeled in even, sinuous \""lute string\"" brushwork. This painting bears no signature nor artist's seals. Though attributed to a Five dynasties artist, it must be the work of a later artist judging by the clothing and the objects."", ""參考書目"": [""劉芳如，〈五代人浣月圖　軸〉，收入劉芳如主編《她-女性形象與才藝》（臺北：國立故宮博物院，2020.10），頁32-33、247。"", ""〈五代人浣月圖　軸〉，收入國立故宮博物院編輯委員會、林莉娜主編《畫中家具特展》（臺北：國立故宮博物院，1996.10），頁18-19、110-111。"", ""1.劉芳如，〈宋人浣月圖（舊傳五代人）〉，收入劉芳如、張華芝主編，《群芳譜 — 女性的形象與才藝》（臺北：國立故宮博物院，2003年初版一刷），頁45。\r\n2.劉芳如，〈五代人浣月圖〉，收入國立故宮博物院編輯委員會編，《仕女畫之美》（臺北：國立故宮博物院，1988年四月初版），頁76。""], ""收藏著錄"": [""石渠寶笈初編（御書房），下冊，頁1151"", ""故宮書畫錄（卷五），第三冊，頁33"", ""故宮書畫圖錄，第一冊，頁135-136""], ""研究性論著"": ""本幅畫明月皎潔，高掛天際。庭院深處，高植著虯松、梧桐與芭蕉，枝葉蒼鬱欣茂，地面另有芙蓉、蜀葵、雛菊等花卉，競吐芳香。奇石上盤踞的蟠螭，正低伏瀉水，池中波紋蕩漾。盛裝婦人，手捧明珠，欠身欲取水滌珠。旁立侍女三人，或臨案焚香，或捧奩，或荷琴，神情莊嚴靜穆。女子對月祈福，自唐代以降，即已蔚為流行，此作或與古代的拜月風尚攸關。\r\n畫無作者款印，舊籤題標為「五代人浣月圖」。若由仕女身著半袖裙襦，及焚香侍女腰間繫縛的長柄紈扇來判斷，本幅原稿的時代，雖符合十世紀規制，但樹石畫法，筆致誇張，已呈顯宋末元初特質，推測應出自南宋宮廷畫師所摹。（劉芳如）""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000030N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000030N000000000')""}]}"
-14451,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14451?dep=P&mode=full,五代人秋林群鹿　軸,"{""文物統一編號"": ""故畫000031N000000000"", ""作品號"": ""故畫00003100000"", ""品名"": ""五代人秋林群鹿　軸\nHerd of Deer in an Autumnal Grove"", ""分類"": ""繪畫"", ""作者"": ""Anonymous"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""118.4x63.8""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""收傳印記"", ""印主"": ""元文宗"", ""印記"": ""天曆（半印）""}, {""印記類別"": ""收傳印記"", ""印主"": ""元文宗"", ""印記"": ""奎章（半印）""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御賞之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑒藏寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""鹿"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""秋景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]",,"{""內容簡介"": [""無作者名款，畫秋日楓林中，群鹿嬉遊憩息情景。畫法極奇，異於一般傳統方法，似受外來影響，具有濃厚裝飾趣味。畫鹿全以淡墨分染，畫樹葉先用細筆鉤輪廓與脈絡，再用汁綠漬染，或用粉填，然後淡罩彩色，彩不掩墨，自有光彩浮動，生意榮茂之��。通幅予人精緻柔麗感覺。《圖畫見聞誌》載宋仁宗時，遼獻千角鹿圖，本幅或與此有關。(20061206)"", ""無作者名款，畫秋日楓林中，群鹿嬉遊憩息情景。畫法極奇，異於一般傳統方法，似受外來影響，具有濃厚裝飾趣味。畫鹿全以淡墨分染，畫樹葉先用細筆?輪廓與脈絡，再用汁綠漬染，或用粉填，然後淡罩彩色，彩不掩墨，自有光彩浮動，生意榮茂之色。通幅予人精緻柔麗感覺。（圖畫見聞誌）載宋仁宗時，遼獻千角鹿圖，本幅或與此有關。""], ""Description"": [""This anonymous hanging scroll portrays a herd of deer gathered in cold autumn woods. Some of the deer stand quietly while others ramble about. The style here differs from traditional Chinese techniques. With a strong decorative quality, it seems to have been created under the influence of a foreign art style. The brushwork is forceful, yet the deer were done in gentle washes of ink. The leaves were first delicately outlined and detailed. Washes of green were applied, then mineral white, and finally more washes of color. Thus, the brilliant, semi-transparency and \""floating richness\"" of the lively colors were achieved. An 11th-century record mentions a foreign Liao (907-1119) painting of a similar subject that is perhaps related to this work."", ""This hanging scroll, bearing no signature or seal of the painter, represents a herd of deer gathered in a maple forest on an autumn day. Some of the deer stand quietly as others ramble about. The painting method here differs somewhat from traditional Chinese techniques. With its strongly decorative quality, it seems to have been created under the influence of a foreign art style. The deer have been done completely in light ink and washes. The outlines and veins of the tree leaves were first delicately outlined, washes of green applied, then mineral white filled in, and finally more light washes of color added. The colors do not conceal the ink, creating for a brilliant, semi-transparent “floating richness” with its lively hues. The painting thereby exudes a refined quality of soft beauty. An 11th-century record in Comments on Paintings Seen and Heard mentions that paintings of a “thousand deer” were presented to the Sung dynasty under Emperor Shen-tsung (r. 1068-1085) by the Liao dynasty (907-1125) court. This painting may have been related to such a tradition.(20061206)""], ""參考書目"": [""劉芳如，〈五代人秋林群鹿　軸〉，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56-61、303。"", ""國立故宮博物院編輯委員會，〈五代人秋林群鹿　軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁64。"", ""1.陳階晉，〈五代人秋林群鹿〉，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64、66。\r\n2.陳階晉，〈五代人秋林群鹿　軸〉，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258-262。\r\n3.陳階晉，〈秋林群鹿〉，收入林柏亭主編，《國寶菁華 — 書畫‧圖書文獻篇》（臺北：國立故宮博物院，2006年12月），頁193。\r\n4.李霖燦，〈丹楓呦鹿和秋林群鹿圖〉，《故宮文物月刊》，第2期（1983年5月），頁49-54。\r\n5.陳階晉，〈五代人秋林群鹿〉，《故宮文物月刊》，第200期（1999年11月），頁26-27。\r\n6.張錯，〈五代乎？宋遼乎？〈秋林群鹿〉及〈丹楓呦鹿〉〉，《故宮文物月刊》，第306期（2008年9月），頁14-27。""], ""收藏著錄"": [""石渠寶笈初編（養心殿），上冊，頁667"", ""故宮書畫錄（卷五），第三冊，頁33"", ""故宮書畫圖錄，第一冊，頁137-138""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000031N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000031N000000000')""}]}"
-14440,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/14440?dep=P&mode=full,五代人丹楓呦鹿　軸,"{""文物統一編號"": ""故畫000032N000000000"", ""作品號"": ""故畫00003200000"", ""品名"": ""五代人丹楓呦鹿　軸\nHerd of Deer in a Maple Grove"", ""分類"": ""繪畫"", ""作者"": ""Anonymous"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""118.5x64.6""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""收傳印記"", ""印主"": ""索額圖"", ""印記"": ""九如清玩""}, {""印記類別"": ""收傳印記"", ""印主"": ""索額圖"", ""印記"": ""也園珍賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""元文宗"", ""印記"": ""天曆（半印）""}, {""印記類���"": ""收傳印記"", ""印主"": """", ""印記"": ""李之粹""}, {""印記類別"": ""收傳印記"", ""印主"": ""阿爾喜普"", ""印記"": ""東平""}, {""印記類別"": ""收傳印記"", ""印主"": ""阿爾喜普"", ""印記"": ""阿爾喜普""}, {""印記類別"": ""收傳印記"", ""印主"": ""元文宗"", ""印記"": ""奎章（半印）""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""鹿"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""秋景"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]",,"{""內容簡介"": [""畫秋日楓林中，群鹿嬉遊憩息的情景。幅中遍佈濃密草木，中央較空疏處，閒散之鹿群或臥或立，左右略相對襯，構圖上頗為和諧穩定。畫鹿先淡勾輪廓，再以墨多次渲染；濃淡凹凸分明，效果突出。周圍樹木色彩變化妍麗，筆法細緻活潑。在風格上，揉和了寫實與裝飾的趣味。"", ""這幅畫無作者名款，描繪群鹿遊憩於色彩斑爛的秋林中，和另一幅〈秋林群鹿〉的風格尺寸極為接近，應是同一組畫作。 圖中鹿隻的頭部都朝向同一方向轉去，似乎聽到發自森林中某處的聲響。鹿的軀體用暈染法，有凹凸分明的效果，周圍的樹木用沒骨畫法，色彩燦爛繽紛。叢樹密列，透過樹幹可以窺見憩息於後的鹿隻，本幅畫法與傳統中國花卉翎毛畫法略有差異，可能和遼或契丹有關。"", ""這幅畫無作者名款，描繪群鹿遊憩於色彩斑爛的秋林中，和另一幅〈秋林群鹿〉的風格尺寸極為接近，應是同一組畫作。 圖中鹿隻的頭部都朝向同一方向轉去，似乎聽到發自森林中某處的聲響。鹿的軀體用暈染法，有凹凸分明的效果，周圍的樹木用沒骨畫法，色彩燦爛繽紛。叢樹密列，透過樹幹可以窺見憩息於後的鹿隻，本幅畫法與傳統中國花卉翎毛畫法略有差異，可能和遼或契丹有關。(20061206)""], ""Description"": [""This painting, bearing no signature or seal of the artist, depicts a herd of deer roaming leisurely about a dense and colorful grove of maple trees in autumn. This work closely matches the size and style of another painting in the Museum and on display here (“Herd of Deer in an Autumnal Grove”). Both were probably once part of the same set. The heads of the deer here face in the same direction, as if having just heard something in the forest. Their bodies are rendered in delicate shades of color washes to give them a sense of volume. The trees also have been done in the “boneless” manner of washes with no outlines, making for a riot of color and form. In the dense forest, the bodies of the deer can also be seen behind the tree trunks. This style differs somewhat from traditional Chinese painting methods found in the genres of birds-and-flowers and animals, and it may be related to a foreign manner practiced by the Khitan under the Liao dynasty (907-1125).(20061206)"", ""This painting bears no signature of the artist. Depicted is a herd of deer roaming about a dense and colorful autumn grove of maples. This work matches the size and style of another in the Museum and they probably once were part of a set. The heads of the deer here face in the same direction, as if having just heard something in the forest. Their bodies are rendered in washes of color to give a sense of volume. The trees have been done in the \""boneless\"" manner of washes with no outlines, and the deer can be seen through the nowtransparent tree trunks. This style differs somewhat from traditional Chinese painting methods and may be related to a foreign manner practiced under the Liao dynasty (907-1125)."", ""This painting portrays a maple grove on an autumn day. The crimson maples and deep blue shadows enframe a herd of deer within a central clearing. Some of the deer stand grazing, others lie resting, while others affect a playful attitude. To the left and right of the clearing, trees and grasses stabilize and complete the composition. The deer were first outlined with very light ink, then given a sense of weight and volume by the addition of layers and layers of increasingly darker ink. This method of shading is not traditionally Chinese but indicates, rather, an influence from outside China. The extraordinary naturalism of the deer contrasts with, but is also balanced by the elegance of the surrounding foliage, giving the viewer a sense of quiet perfection. The dimensions of this painting correspond almost exactly with those of \""Herd of Deer in an Autumn Forest\"". The style and setting of the two paintings are also quite similar. Thus, it is probable that these works are from the hand of a single artist.""], ""收藏著錄"": [""石渠寶笈初編（養心殿），上冊，頁667"", ""故宮書畫錄（卷五），第三冊，頁33-34"", ""故宮書畫圖錄，第一冊，頁139-140""], ""參考書目"": [""1.陳階晉，〈五代人丹楓呦鹿圖〉，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65-67。\r\n2.陳階晉，〈五代人丹楓呦鹿　軸〉，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259-263。\r\n3.陳階晉，〈五代人丹楓呦鹿圖〉，收入石守謙、葛婉章主編，《大汗的世紀:蒙元時代的多元文化與藝術》（臺北：國立故宮博物院，2001年初版），頁289-290。\r\n4.〈五代作者佚名丹楓呦鹿〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁206。\r\n5.李霖燦，〈丹楓呦鹿和秋林群鹿圖〉，《故宮文物月刊》，第2期（1983年5月），頁49-54。\r\n6.本社，〈五代丹楓呦鹿〉，《故宮文物月刊》，第67期（1988年10月），頁1。\r\n7.徐文琴，〈五代人丹楓呦鹿圖〉，《故宮文物月刊》，第100期（1991年7月），頁70。\r\n8.張錯，〈五代乎？宋遼乎？〈秋林群鹿〉及〈丹楓呦鹿〉〉，《故宮文物月刊》，第306期（2008年9月），頁14-27。\r\n9.陳階晉，〈五代人丹楓呦鹿〉，收入蔡玫芬主編，《精彩一百　國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁252。"", ""陳韻如，〈五代人丹楓呦鹿　軸〉，收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》（臺北：國立故宮博物院，2016.10），頁80-85、265-266。"", ""國立故宮博物院編輯委員會，〈五代人丹楓呦鹿　軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁65-67。""], ""網頁展示說明"": [""本幅畫秋日楓林中，群鹿嬉遊憩息的情景，和院藏另一幅尺幅相同的〈秋林群鹿〉畫風極為接近。二者均無作者款印，有學者推測此或出自巨幅聯屏或通景屏，屬同一組畫作。\r\n全圖不留空白，鹿隻或昂首遠望；或豎耳聆聽，意態生動。鹿的軀體用暈染法，周圍的樹木用沒骨畫法，色彩絢麗，極富裝飾趣味。通幅古風盎然，唯畫法及設色與漢人相異，因此被認為是十世紀後半遼代繪畫之代表作。\r\n(20110913)"", ""This work depicts a maple forest in autumn with a scene of a herd of deer frolicking and resting. It is very close in size and style to another work in the National Palace Museum collection, “Herd of Deer in an Autumnal Grove.” Neither of these works bear the seal or signature of the artist, but scholars have suggested that they may have come from a larger continuous screen or series of screen paintings, having once been part of the same set.\r\n\tNo blank space is left in the painting as the deer look up and out or have their ears standing at attention in a very lifelike manner. The bodies of the deer were rendered using haloes of wash, the surrounding trees done with the “boneless” painting method of washes. The colors are gorgeous, yielding an exceptionally decorative manner. The painting is brimming with archaism, but the painting and coloring methods differ from Chinese traditions, which is why this work has been considered representative of Liao dynasty painting from the latter half of the tenth century.\r\n(20110913)""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000032N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000032N000000000')""}]}"
-1198,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1198?dep=P&mode=full,宋李成寒林圖　軸,"{""文物統一編號"": ""故畫000034N000000000"", ""作品號"": ""故畫00003400000"", ""品名"": ""宋李成寒林圖　軸\nWintry Forests"", ""分類"": ""繪畫"", ""作者"": ""李成,Li Cheng"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""180x104""}, {""位置"": ""上方褾綾"", ""尺寸(公分)"": ""13.4x104.1""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}, {""質地位置"": ""上方褾綾"", ""質地"": ""綾""}]","[{""題跋類別"": ""題跋"", ""作者"": ""清高宗"", ""位置"": ""本幅"", ""款識"": ""戊子（西元一七六八年）仲秋月御題"", ""書體"": """", ""全文"": ""樹為經霜淡。泉因潄石寒。望而饒冷意。足以契澄觀。那藉丹青絢。猶看柯榦攢。大家真别調。秋氣滿林端。戊子（西元一七六八年）仲秋月御題。""}, {""題跋類別"": ""題跋"", ""作者"": ""王鐸"", ""位置"": ""上方褾綾"", ""款識"": ""己丑二月廿八日。無咎觀識。王鐸。"", ""書體"": """", ""全文"": ""李成寒林圖。琅華館藏。乙酉識。孟津王鐸家珍。""}, {""題跋類別"": ""題跋"", ""作者"": ""王鐸\n印記\nexpand_more"", ""位置"": ""上方褾綾"", ""款識"": ""王鐸"", ""書體"": """", ""全文"": ""古雅天成。繩式後代。己丑二月廿八日。無咎觀識。王鐸。"", ""印記資料"": [{""印主"": ""王鐸"", ""印記"": ""王鐸之印""}]}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寧壽宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""樂壽堂鑒藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": ""寒林""}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}]",,"{""內容簡介"": ""叢林中溪水彎流，與石相激，濺起點點浪花，兩旁林木高聳，雲煙穿繞其間。全幅畫樹用筆強勁，樹枝如龍蛇朝四面伸張，乃李郭山水最有特色的蟹爪樹法，極富有姿勢變化之美。以畫法論，本幅可能是十二世紀北方金人學李郭風格的作品。\r\n　　李成（西元916—967），字咸熙，唐皇室的後裔，系出長安，五代徙居山東營丘，畫平遠山水煙林清曠，墨法精純。"", ""Description"": ""Through a forest winds a quickly flowing stream that dashes and splashes against the rocks. Tall trees appear on either side, and bands of mist float among the tree tops. The brushwork in the trees is particularly strong and energetic-the branches looking like twisting dragon claws, similar to the distinctive crab-claw style of painting trees in the Li Ch’eng and Kuo Hsi tradition. In terms of style, this may be a work by a northern Chin dynasty artist of the 12th century following the Li-Kuo tradition. \r\n\tLi Ch’eng, a descendant of the T’ang imperial family , specialized in painting flat-distance , misty landscapes of water and trees suggested by washes of ink."", ""網頁展示說明"": [""李成（916？967）字咸熙，唐皇室的後裔，系出長安，五代徙居山東營丘，因此又稱為李營丘。性情豪邁，放蕩不羈，喜好飲酒，博涉經史。據《圖畫見聞誌》的記載，李成「善畫山水寒林，化精靈，絕人遠甚。」「氣象蕭疏，煙林清曠，毫鋒穎脫，墨法精微。」最擅長以寒林來表現嚴冬蕭颯荒寒景況。\r\n\r\n　　本幅以近景為主，畫幅中央矗立著三株巨樹，一灣溪水三疊流出，激流漱石，幅內煙嵐飄忽游於林中，虛實相映。勾畫樹幹、皴樹皮、點葉皆用細筆，雖勁拔挺捷，然仍具一股娟秀氣息，樹幹上勾圈出很多木癭，枝椏若龍蛇四面分張，蒼勁遒逸，澗流兩側土坡淡墨臥筆層疊皴染，筆法細膩又具變化。水紋及騰濺水花之取筆粗細並用，且勁挺有力，似聞激濺之聲。\r\n\r\n　　寒林為北方平遠的產物，主旨在表現「荒寒蕭瑟，煙蕪淒惻之情。」但李成的寒林圖，松石幽深，鳴泉流濺，主要表現的是樹石茂密之美，與宋人「松泉磐石」相似，有明月松間照，清泉石上流的意境，而非木葉盡脫、寒林蕭瑟之意。幅中畫樹枝柯分披，是李郭遺法，畫石用斧劈皴，則似出���李唐風格，以畫風而言，並非出於十世紀李成所作，較可能為十二世紀北方金人學李郭傳統之作品。"", ""Through a forest winds a quickly flowing stream that dashes and splashes against the rocks. Tall trees appear on either side of the stream, and bands of mist float among the treetops. The brushwork in the trees is particularly strong and energetic-the branches looking like twisting dragon claws, similar to the distinctive crab-claw style of painting trees in the Li Ch'eng and Kuo Hsi tradition. In terms of style, this may be a work by a Chin dynasty artist of the 12th century following the Li-Kuo tradition.\r\n\r\nLi Ch'eng, a descendant of the T'ang imperial family, specialized in painting flat distance landscapes of misty water and trees using washes of ink.""], ""參考書目"": ""林麗江，〈宋李成寒林圖　軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁100-101。"", ""收藏著錄"": [""石渠寶笈續編（寧壽宮），第五冊，頁2646"", ""故宮書畫錄（卷五），第三冊，頁35"", ""故宮書畫圖錄，第一冊，頁145-146""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000034N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000034N000000000')""}]}"
-1303,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1303?dep=P&mode=full,宋燕文貴寒浦魚罾　軸,"{""文物統一編號"": ""故畫000045N000000000"", ""作品號"": ""故畫00004500000"", ""品名"": ""宋燕文貴寒浦魚罾　軸\nFishing in Winter"", ""分類"": ""繪畫"", ""作者"": ""燕文貴"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""143.1x75.4""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,,"[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""蘆葦"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""雁"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""耕織漁獵"", ""主題說明"": ""漁""}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""燕文貴（西元九六七－一○四四年），浙江吳興人，仁宗時為畫院待詔。其山水、人物均佳，尤善畫四季景色，清雅可愛，號為「燕家景緻」。本幅寫日暮寒冬之景。近岸一翁獨坐捕魚，綣縮之狀暗示出天候之嚴寒；隔著平闊清泠的江面，遠處沙洲枯蘆繞岸，數隻雁鴨點綴其間，更添荒疏寂寥之感。此圖與本院所藏另一幅標為宋人「漁父圖」為同一粉本，舊傳為燕文貴所作，然就畫風論，應出自晚明畫家之手。"", ""Description"": ""Yen Wen-kuei was a native of Wu-hsing, Checkiang, who was a Painter-in-Attendance during the reign of Emperor Jen-tsung (r. 1022-1063). His depictions of landscapes and figures were excellent, especially his renderings of the four seasons. Pure, elegant, and charming, they were called \""Yen's Wondrous scenes.\"" This painting depicts a scene late in the day during winter. On the foreground bank is an old man working his fishing net alone and huddlind against the severe cold. The river surface separates the foreground from the level distance dotted by shoals of withered reeds, winding banks, geese, and ducks. These motifs add to the sense of vastness and solitude. The composition is similar to another in the Museum entitled \""Fisherman by an Anonymous Sung Artist.\"" Furthermore, judging from the style of the painting, it should be attributed to a late Ming (1368-1644) artist, and not to Yen Wen-kuei."", ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁46-47"", ""故宮書畫圖錄，第一冊，頁183-184""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000045N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000045N000000000')""}]}"
-1301,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1301?dep=P&mode=full,宋燕文貴三仙授簡��軸,"{""文物統一編號"": ""故畫000046N000000000"", ""作品號"": ""故畫00004600000"", ""品名"": ""宋燕文貴三仙授簡　軸\nReceiving the Text from Immortals"", ""分類"": ""繪畫"", ""作者"": ""燕文貴,Yan Wengui"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""46.3x41.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,,"[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""神、仙"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""文房用具"", ""主題說明"": ""經；硯；墨；筆""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""服飾（對人）"", ""主題說明"": ""樹葉衣""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": [""松下巖洞中三仙赤足踞坐，石洞淺狹。一仙穿著樹葉做的衣服，手持筆。一仙披髮赤膊。一仙穿著寬鬆的衣服，不繫腰帶。頭上紮雙髻，手持卷素。岩石松樹皴法用筆細密，具有真實感，人物面部表情溫和，顯出有修養的樣子。畫面上沒有作者的款印，舊傳燕文貴作，按燕文貴(約活動於西元十一世紀)，吳興人，宋太宗時詔入畫院為祇候，擅長山水畫。"", ""淺設色畫。松下巖洞中三仙踞坐。一仙衣葉，手持筆；一仙披髮赤膊，一仙衣而不冠，手握卷素。無名款。按此幅原題燕文貴作，惟畫風已入南宋，可能為十二世紀作品，與燕文貴畫亦不相祖襲，故不定名。""], ""Description"": [""Three immortals are seated in a rocky cave in the shade of pines. One, clothed in leaves, holds a brush; a second is bare-shouldered with disheveled hair; and the third, wearing a scholar's robe but no cap, holds a scroll of blank paper. The painting is not signed; it was formerly attributed toYen Wen-kuei, but the style is that of the Southern Sung. It may have been painted in the12th century. As it bears no relation toYenWen-kuei's style, we have omitted the attribution."", ""In this painting, three immortals are seated in a small, narrow grotto beneath some pine trees. One is clothed in leaves and holds a brush, another is depicted with bare shoulders and dishevelled hair,and the other holds a scroll. The brushwork involved in rendering the texture strokes for the rocks and  pine trees is delicate and realistic. The expressions of the figures appear calm and suggest an air of cultivation. Although this work bears neither seal nor signature of the artist, it has been traditionally attributed to Yen Wen -kuei, a native of Wu-hsing who served as Attendant (chih-hou) in the painting academy in the reign of Emperor T'ai-tsung (r. 976-997) and excelled at landscape painting.""], ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁47"", ""故宮書畫圖錄，第一冊，頁185-186""], ""參考書目"": ""許文美，〈宋燕文貴三仙授簡　軸〉，收入《何處是蓬萊-仙山圖特展》（臺北：國立故宮博物院，2018.06），頁136-137、171。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000046N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000046N000000000')""}]}"
-1278,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1278?dep=P&mode=full,宋許道寧畫雪景　軸,"{""文物統一編號"": ""故畫000048N000000000"", ""作品號"": ""故畫00004800000"", ""品名"": ""宋許道寧畫雪景　軸\nSnowscape"", ""分類"": ""繪畫"", ""作者"": ""許道寧"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""169.2x103.2""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""希之""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""百姓"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(���一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""溪澗、湍泉"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""瀑布"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""亭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""籬笆、圍牆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""漁船"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""篷舟"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": """"}]","{""內容簡介"": ""許道寧(約西元十一世紀)，北宋河間人。初市藥於都門，畫山水以聚觀者，習氣頗深。中年盡變舊學，行筆簡易，林木硬勁，自成一家。崇山峻嶺，峰巒積雪，百木俱凋，蒼松挺立。雪江中，漁夫披簑垂釣，溪畔上，三人圍爐飲酒。通幅以墨渲染水天，更覺陰冷蕭瑟。"", ""Description"": ""Hsu Tao-ning was a native of Ho-chien, Hopei. He originally sold herbal medicines at the capital gate, painting landscapes to attract customers. At that time, his works were relatively common. However, during his middle years, he completely changed his style, his brushwork becoming simpler and more refined. In this painting are lofty and precipitous crags with accumulated snow, hundreds of trees all withered, only hoary pines standing tall. On a snowy river, old fishermen in straw raincoats are angling. On the shore are three people circled around a fire and drinking wine. Both the sky and water in the entire scroll have been done with ink washes, imparting even more coldness, gloom and desolation to the painting."", ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁48"", ""故宮書畫圖錄，第一冊，頁193-194""], ""參考書目"": ""1.本社，〈宋許道寧雪景〉，《故宮文物月刊》，第57期（1987年12月），封底裡。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000048N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000048N000000000')""}]}"
-1281,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1281?dep=P&mode=full,宋郭熙寒林圖　軸,"{""文物統一編號"": ""故畫000054N000000000"", ""作品號"": ""故畫00005400000"", ""品名"": ""宋郭熙寒林圖　軸\nA Wintry Forest"", ""分類"": ""繪畫"", ""作者"": ""郭熙"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""153x98.8""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""丹誠""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""公""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""宜爾子孫""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""信公真賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""珍秘""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""真賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""都尉耿信公書畫之章""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""琴書堂""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""���仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""柏"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""寒林．枯樹"", ""主題說明"": """"}]","[{""技法"": ""無皴"", ""技法細目"": """"}]","{""內容簡介"": ""郭熙(十一世紀後葉)，河南溫縣人，神宗熙寧年間(1068-1077)任畫院藝學。善山水，畫法學自李成，而能樹立一己的面貌。本幅舊傳為郭熙所作。畫中林木，業已落葉凋零，僅存如龍舞爪般的老幹枯枝，與殘餘點點綠葉的斑駁古柏，挺立在孤孑突兀的坡土上，有種蕭瑟嚴寒的氣象。畫法上無論畫樹或山石，用筆都遒勁有力，墨色層層渲染，加重了灰黯的天空，襯白了寒雪，更顯得景物蕭條荒遠。"", ""Description"": ""Kuo Hsi was from Wen County, Honan. He served as an apprentice artist in the Imperial Academy of Painting under Emperor Shen-tsung from 1068 to 1077. His specialty was landscapes, and although he was heavily influenced by Li Ch'eng, Kuo Hsi developed his own personal style. In this painting, traditionally attribute to Kuo Hsi, a cold and snowy forest has been described. The leaves have already withered and fallen into decay. All that remains are the dry and barren branches, waving like dragons'claws in the chilly breeze. The mottle old cypress, with only a touch of green remaining, stands erect on a steep and lonely slope. The overall mood is one of desolation and bitter cold. In terms of techniqhe, the brushwork depicting trees and rocks is firm and powerful. In the layering of ink tones and washes, a striking contrast has been achieved between the gloomy sky, barren scenery, and the whiteness of the snow."", ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1394"", ""故宮書畫錄（卷五），第三冊，頁53"", ""故宮書畫圖錄，第一冊，頁217-218""], ""研究性論著"": ""冬日空曠的堤岸一角，枯樹林立，伸展如蟹爪般的枝梢。前端一株高大的古柏拔地而起，虯枝翻轉，狀若偃蓋。遠山數疊，形勢低平，地面和山頭都積了一層深雪，坡腳斜斜交錯，逐漸沒遠方。天際空闊窅黯，益發顯出一股蕭瑟幽森的氣氛。\r\n\r\n用凹凸起伏的線條勾勒樹的輪廓，再用墨線，悉心皴出縷縷細紋，樹幹上端與枝梢略抹一道白線，或點綴白粉，以寫雪意。遠山不皴，以深淺墨色烘染，天空約占半幅，渲染深墨，反映出被雪覆蓋的地面與山巒。構圖以寒林為主景，置於畫面左半幅，背山簡略，以平遠法表現，藉以襯托近景寒林高大挺拔的身影。\r\n\r\n十至十一世紀，北方畫家間有一類以「平遠寒林」或「山水寒林」為主題的山水畫，論者認為這類畫題一方面延續唐代水墨「山水樹石」、「松石山水」傳統，另一方面與華北特有的地方景觀有關，成為華北山水畫的主題之一，描寫形式也有一定的格局。平遠寒林的代表畫家首推五代時期的李成（919--967），宋人形容他的畫風特色是: 「氣象蕭疏，煙林清曠，毫鋒穎脫，墨法精微」。（註一）此幅無作者款印，清宮著錄歸為宋代郭熙（活動於十一世紀），不過從畫的主題來看，應屬於李成的平遠寒林一系。從樹與坡石的畫法已約略有形式化的傾向來看，可能與十三世紀南宋末到元代初年間仿古山水畫風有關。（註二）（何傳馨）\r\n\r\n（註一）郭若虛，《圖畫見聞誌》，收錄於于安瀾編，《畫史叢書》（上海: 上海人民美術出版社，1962），第一冊，卷一，頁12，〈論三家山水》。參見李霖燦，〈寒林一系圖畫的初步探討〉，收錄於李霖燦，《中國名畫研究》（台北:藝文印書館，1973），頁275--280。鈴木敬著，魏美月譯，《中國繪畫史》（上）（台北: 國立故宮博物院，1987），頁159--160。\r\n（註二）參見Wen C.  Fong, Images of the  Mind, (Princeton: The Art Museum, PrincetonUniversity, 1984), pp. 65-68."", ""參考書目"": ""1.林莉娜，〈宋郭熙寒林圖〉，收入林莉娜、張華芝編，《冬景山水畫特展圖錄》（臺北：國立故宮博物院，1989年元月初版），頁57。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000054N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000054N000000000')""}]}"
-1286,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1286?dep=P&mode=full,宋郭熙豐年瑞雪圖　軸,"{""文物統一編號"": ""故畫000058N000000000"", ""作品號"": ""故畫00005800000"", ""品名"": ""宋郭熙豐年瑞雪圖　軸"", ""分類"": ""繪畫"", ""作者"": ""郭熙"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""120.4x74.7""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""冬景（雪景）"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": """", ""主題說明"": ""貨船""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""百姓"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""行旅"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""縴夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""騾．驢"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""店舖"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""茅草屋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""塔"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""船"", ""主題(第二層)"": ""帆船"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""皴法"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1394"", ""故宮書畫錄（卷五），第三冊，頁55"", ""故宮書畫圖錄，第一冊，頁225-226""], ""參考書目"": ""1.〈傳宋郭熙豐年瑞雪（明周文靖）〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁173。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000058N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000058N000000000')""}]}"
-1288,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1288?dep=P&mode=full,宋崔白蘆花羲愛　軸,"{""文物統一編號"": ""故畫000061N000000000"", ""作品號"": ""故畫00006100000"", ""品名"": ""宋崔白蘆花羲愛　軸\nReeds and Goose"", ""分類"": ""繪畫"", ""作者"": ""崔白"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""141.2x86.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""秋景"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鵝"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""蘆葦"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": ""崔白(西元十一世紀)，安徽濠梁人，字子西，工畫花竹翎毛，以畫枯荷鳧雁得名，但也精於道釋、人物、鬼神。據說他作畫不起稿，畫長絃挺刃，不用直尺界筆。宋神宗熙寧初(約西元1068年)受命與艾宣、丁貺、葛守昌等人畫垂拱殿屏風，頗受讚賞，補為圖畫院藝學。此圖繪蘆岸間，一鵝昂首獨立。蘆葉經霜，殘綠猶存。鵝身描繪精細，羽毛纖毫畢顯，極為寫實。本幅舊傳為崔白所作。"", ""Description"": ""Ts’ui Po, whose style name was Tzu-hsi,was a native of Hao-liang, Anhwei. He was a skilled painter of birds and flowers, acquiring fame for his portrayals of withered lotus plants and water fowl in particular. Ts’ui Po  is said to have worked without a ruler or compass and to have painted directly, without preliminary drafts--remarkable comments in consideration of the exacting, realistic style associated with his name. Circa 1068, Ts’ui Po was one of a number of painters who received imperial commissions from Emperor Shen-tsung, and, following his successes in this endeavor, he was appointed as a student in the Painting Academy. A lone goose raises its head among water reeds. The leaves have been bitten by frost, though some green remains.The goose is painted with extreme detail, a fine brush delineating his feather. The painting, although a traditional attriution to Ts’ui Po, is an excellent example of realistic depiction."", ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁58-59"", ""故宮書畫圖錄，第一冊，頁253-254""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000061N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000061N000000000')""}]}"
-1291,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1291?dep=P&mode=full,宋崔白蘆汀宿雁　軸,"{""文物統一編號"": ""故畫000062N000000000"", ""作品號"": ""故畫00006200000"", ""品名"": ""宋崔白蘆汀宿雁　軸\nWild Goose Resting on a Shoal"", ""分類"": ""繪畫"", ""作者"": ""崔白"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""106.5x51""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（鈐印一不可辨）""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""□氏廷璧""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""令之氏一字仙客""}, {""印記類別"": ""收傳印記"", ""印主"": ""卞永譽"", ""印記"": ""式古堂書畫印""}, {""印記類別"": ""收傳印記"", ""印主"": ""安岐"", ""印記"": ""御題圖書府""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""雁"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""蘆葦"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": ""崔白(西元十一世紀)，濠梁(今安徽鳳陽)人，字子西，仁宗時(1022-1063)選入畫院為藝學，工畫花竹翎毛。根據記載，崔白以擅畫枯荷鳧雁而得名，故後人常將此類題材之作品歸於其名下，本幅即是一例。構圖用筆均簡潔的坡岸、蘆雁，與崔白寫實的筆墨風格不相類，卻有著元代古拙樸質的感覺。"", ""Description"": ""Ts’ui Po, (style name Tzu-hsi) was a native of Hao-liang ( modern Feng-yang, Anhwei). He entered the painting academy during the reign of Jen-tsung(r.1022-1063) as a Student and specialized in painting birds, small animals, flowers, and bamboo. According to history descriptions, Ts’ui Po became famous for his depictions of withered lotuses and waterfowl. As a result, later collectors would often ascribe works of this subject matter to his name. This painting is such an example. However, the abbreviated nature of the composition and brushwork describing this goose resting on a shoal with reeds differs somewhat from the actual style associated with Ts’ui Po. This painting is related to the archaic and primitive styles advocated in the Yuan dynasty (1279-1368)."", ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁59"", ""故宮書畫圖錄，第一冊，頁255-256""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000062N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000062N000000000')""}]}"
-1265,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1265?dep=P&mode=full,宋徽宗紅蓼白鵝圖　軸,"{""文物統一編號"": ""故畫000067N000000000"", ""作品號"": ""故畫00006700000"", ""品名"": ""宋徽宗紅蓼白鵝圖　軸\nWhite Goose and Red Polygonum"", ""分類"": ""繪畫"", ""作者"": ""趙佶,Emperor Huizong"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""132.9x86.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""丹誠""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""公""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""宜爾子孫""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""信公珍賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""宋徽宗"", ""印記"": ""宣和殿寶""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""珍秘""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""真賞""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿嘉祚"", ""印記"": ""耿會侯鑑定書畫之章""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""都尉耿信公書畫之章""}, {""印記類別"": ""收傳印記"", ""印主"": ""耿昭忠"", ""印記"": ""琴書堂""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""養心殿鑑藏寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""紅蓼"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鵝"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": ""宋徽宗(1082-1135)，姓趙名佶。性好書畫，秉賦極高，山水、花鳥、人物，莫不工。筆墨挺秀，雅韻宜人，書稱瘦金體，筆勢勁逸。紅蓼一枝，離坡高起，畫葉正反翻折得勢。白鵝蹲伏淺渚之上，回首理翎，目光凝然似欲睡。用粉鉤翎，筆意精工之甚。水邊作細卵石無數，群色爛然，秋風野水，觀之恍然使人如在澄波古岸邊也。本幅構圖與院藏宋人秋塘雙雁極似，應屬後人傳摹之作。"", ""Description"": ""Emperor Hui-tsung's personal name was Chao Chi. He was a graet patron of the arts, an excellent essayist, and a calligrapher of rank. He also excelled at painting landscapes, birds, flowers, and figures. The style of his calligraphy is called \""slender gold\"" and has an uninhibited, tensile strength. A flowering polygonum plant springs up from a sloping bank. Beneath its branches a white goose stands, nuzzling and preening as if ready for a nap. The plant has been rendered with curling leaves in varying positions, and its branches have been arranged into graceful sprays. Lead white has been used to outline the plumage of the smooth egg-shaped stones at the edge of the water. The glowing colors have been chosen to create the effect of an autumn wilderness. Such a scene makes the viewer feel somewhat dazed, as if he were actually standing on the banks of a stream in ancient days. This painting along with A pair of wild Geese By an Autumn Pond attributed to a Sung dynasty artist also in the museum's collection, however, is a copy by a later artist."", ""收藏著錄"": [""石渠寶笈初編（養心殿），上冊，頁658"", ""故宮書畫錄（卷五），第三冊，頁65-66"", ""故宮���畫圖錄，第一冊，頁299-300""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000067N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000067N000000000')""}]}"
-1183,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1183?dep=P&mode=full,宋徽宗蠟梅山禽　軸,"{""文物統一編號"": ""故畫000068N000000000"", ""作品號"": ""故畫00006800000"", ""品名"": ""宋徽宗蠟梅山禽　軸\nChimonanthus and Birds"", ""分類"": ""繪畫"", ""作者"": ""宋徽宗,Huizong"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""83.3x53.3""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""宋徽宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""山禽矜逸態。梅粉弄輕柔。已有丹青約。千秋指白頭。宣和殿御製。并書。（下有御押）。"", ""書體"": ""楷書"", ""全文"": """", ""印記資料"": [{""印主"": ""宋徽宗"", ""印記"": ""御書""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": ""圖帖睦爾"", ""印記"": ""天曆之寶""}, {""印記類別"": ""收傳印記"", ""印主"": ""圖帖睦爾"", ""印記"": ""奎章閣寶""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""梁清標印""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蕉林""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蕉林收藏""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": """", ""主題說明"": ""山礬""}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": ""蠟梅""}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""白頭翁"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""草蟲"", ""主題(第二層)"": ""蜂"", ""主題說明"": """"}]",,"{""內容簡介"": [""宋徽宗（1082－1135），姓趙名佶。擅長書畫，也好收藏歷代作品，遂使內府珍藏的名蹟，百倍於前朝。 本幅梅枝上棲息白頭翁二隻，其間胡蜂飛繞，下有山礬二株，並以「瘦金書」書寫款題。構圖簡潔，用筆秀瘦而內含勁力，表現冬日的清疏氣氛。對實物的仔細觀察，使線條隨物形而變化，再加上作者經心的構想，以梅幹的Ｓ型走向來展現韻律感，表達出一份超越自然實景的理想化美感。(20061206)"", ""徽宗（西元1082-1135年），名佶。性好書畫，不但擅長花鳥、山水、人物，也喜好收藏法書名畫，遂使內府珍藏的名蹟，百倍於前朝。\r\n本幅描繪兩隻白頭棲息梅枝上，花枝間則有隻黃蜂來回飛繞。用筆秀瘦而內含勁力，極富精勁清雅的風韻。畫中的題字，即徽宗有名之「瘦金書」。""], ""Description"": [""Hui-tsung, whose given name was Chi, ascended to the throne in 1102. He enjoyed both painting and calligraphy, and not only excelled at bird and flower, landscape and figure painting, but was also an enthusiastic collector of calligraphy and paintings. His collection was much larger and more impressive than those of his predecessors.\r\nThis painting depicts a pair of bulbuls perched on a branch of chimonanthus fragrans in bloom, a wasp flying amid the branches, and a rue plant underneath. The strokes of the brush is beautifully slender, yet full of strength. The flavor of the brushwork is very rich, refined and strong, pure and elegant. This work also possess an inscription in the famous “slender gold” calligraphic style of Hui-tsung."", ""The Sung dynasty emperor Hui-tsung also had the common name Chao Chi. Excelling at painting and calligraphy, he was also an astute collector of works of art, gradually amassing a collection of precious masterpieces at the court that far exceeded the scope and quality of those of previous dynasties. This work shows a pair of Chinese bulbuls perched on the branch of a plum tree in blossom with a wasp flying about. Below are two stalks of blossoming sweetleaf sprouting up from below, and to the left is a poem and the right a signature, both done in Hui-tsung’s distinctive “slender gold script”. The composition is simple yet extremely effective, and the brushwork is elegantly precise yet very strong, expressing the pure and crisp atmosphere of a cold winter’s day. With regards to the detailed observation of the physical forms, lines and strokes closely follow and change with variations in the shapes and textures. In addition, the attention of the artist in composing the scene is reflected in the “S”-shape of the trunk of the plum tree that rhythmically expands into the upper portion of the scroll to express the idealized beauty of a supra-natural scene.(20061206)""], ""網頁展示說明"": [""宋徽宗趙佶（1082－1135），是一位詩、書、畫三絕的藝術家皇帝，建立完備畫院制度，以詩句為畫題選取人才，重視對實物的觀察，這種結合詩畫和寫生的繪畫觀念，對中國繪畫的發展深具影響力。\r\n此幅可能即《宋中興館閣儲藏圖畫記》中徽宗八扇屏之一的〈香梅山白頭〉，兼具詩情畫意，精練筆墨表現景物特性，構圖簡潔，設計Ｓ型弧線，在寫生之外，又著意營造具造型美感和冬日清疏氣氛的理想境界。\r\n(20110913)"", ""Huizong, given name Zhao Ji, was an artistic emperor gifted at the “Three Perfections” of poetry, calligraphy, and painting. He established a Painting Academy for the complete study of painting at the court, using lines of poetry for painting subjects to recruit and select artists of talent. He also paid attention to observing things as they appear in nature. This combination of painting theories fusing painting and calligraphy as well as “sketching from life” had a deep and lasting influence on the development of Chinese painting.\r\n\tThis work may have been one of eight screen paintings by Huizong mentioned in Record of Paintings Stored in the Revival Halls of the Song, “Fragrant Plum Blossoms and Wild Bulbul.” With its lyrical and painterly manner, the refined use of brush and ink expresses the characteristics of the scenery, and the composition is succinct and designed into an “S”-shaped arc. In addition to “sketching from life,” great pain was taken to create aesthetic forms and an idealized realm of the pure and crisp atmosphere on a winter’s day.\r\n(20110913)""], ""參考書目"": [""陳韻如，〈宋徽宗蠟梅山禽　軸〉，收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》（臺北：國立故宮博物院，2016.10），頁78-79、265。"", ""國立故宮博物院編輯委員會，〈宋徽宗蠟梅山禽　軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁86-87。"", ""1.譚怡令，〈宋徽宗蠟梅山禽〉，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86-87。\r\n2.譚怡令，〈宋徽宗蠟梅山禽　軸〉，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194-197。\r\n3.李霖燦，〈從臘梅山禽談起—故宮讀畫箚記〉，《故宮文物月刊》，第9期（1983年12月），頁50-56  。\r\n4.譚怡令，〈國之重寶 — 書畫精萃特展〉，《故宮文物月刊》，第19期（1984年10月），頁24。\r\n5.譚怡令，〈宋徽宗臘梅山禽〉，《故宮文物月刊》，第100期（1991年7月），頁73。\r\n6.譚怡令，〈真實與理想的調色盤〉，《故宮文物月刊》，第285期（2006年12月），頁4-10。\r\n7.譚怡令，〈宋徽宗蠟梅山禽〉，收入蔡玫芬主編，《精彩一百　國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁266。""], ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1371"", ""故宮書畫錄（卷五），第三冊，頁66"", ""故宮書畫圖錄，第一冊，頁301-302""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000068N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000068N000000000')""}]}"
-1311,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1311?dep=P&mode=full,宋蔡肇仁壽圖　軸,"{""文物統一編號"": ""故畫000070N000000000"", ""作品號"": ""故畫00007000000"", ""品名"": ""宋蔡肇仁壽圖　軸\nBenevolence and Long Life"", ""分類"": ""繪畫"", ""作者"": ""蔡肇"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""95.5x41.1""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""28.1x39.3""}]","[{""質地位置"": ""詩塘"", ""質地"": ""紙""}, {""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""蔡肇"", ""位置"": ""本幅"", ""款識"": ""蔡肇"", ""書體"": ""隸書"", ""全文"": ""蔡肇""}, {""題跋類別"": ""題跋"", ""作者"": ""周伯琦\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""元統二年(1334)春日。周伯溫書。"", ""書體"": ""篆書"", ""全文"": ""仁壽賦。生必���山。峰狀自閒。電烻霞駮。樹雜苔班。奇形異質。紛拏不一。屹特立以樹空。倚懸崖而構室。御箭笴而橫臥。聳蓮蓬而半出。龍吟應物。觸紫巖而吐雲。虹梁中斷。駕滄海而觀日。故石之為物也。不奢不僭。無競無猜。偶山水而長往。因和璞而俱來。考之雲籍。則建名古昔。賢億視而長存。經百王而不易。何施而不可。何用而不適。願上吾君千萬年。地久天長履茲石。元統二年(1334)春日。周伯溫書。"", ""印記資料"": [{""印主"": ""周伯琦"", ""印記"": ""玉雪坡主""}, {""印主"": ""周伯琦"", ""印記"": ""行中書""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""□翁""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""一印不可辨""}, {""印記類別"": ""收傳印記"", ""印主"": ""邵彌"", ""印記"": ""南有堂""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""晉府""}, {""印記類別"": ""收傳印記"", ""印主"": ""明內府藩府印"", ""印記"": ""晉府世子圖書""}, {""印記類別"": ""收傳印記"", ""印主"": ""朱棡"", ""印記"": ""晉府書畫之印""}, {""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""御府圖繪之記""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""梁清標印""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蒼巖子梁清標玉立氏印章""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蕉林鑒定""}, {""印記類別"": ""收傳印記"", ""印主"": ""繆曰藻"", ""印記"": ""蘭陵文子收藏""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}]",,"{""內容簡介"": [""蔡肇字天啟，江蘇丹陽人。他是元豐二年(1079)的進士，詩文作得很好，也擅於畫山水、人物，特別愛畫枯槎老樹，珍異怪石。這一幅畫描繪兩座玲瓏多變的奇石，佇立在草地上。金與石本來象徵著永恆，因此在畫幅中，「石」與「壽」往往發生著聯想。"", ""Ts'ai Chao (style name T'ien-ch'i ) came from Tang-yang in Kiangsu. He received the chin-shih degree in 1079. A skilled poet and essayist, he was also an accomplished painter of landscapes and figures. His favorite subject were ancient trees with bare branches and strangely-shaped rocks. This painting represents two strange stones, almost like carved gems, standing on the ground. Metal and stone are traditional symbols of endurance and steadfastness, and rocks represented in paintings of ten carry the connotation of long life.""], ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁67"", ""石渠寶笈三編（延春閣），第七冊，頁3070"", ""故宮書畫圖錄，第一冊，頁313-314""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000070N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000070N000000000')""}]}"
-1185,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1185?dep=P&mode=full,宋晁補之老子騎牛圖　軸,"{""文物統一編號"": ""故畫000071N000000000"", ""作品號"": ""故畫00007100000"", ""品名"": ""宋晁補之老子騎牛圖　軸\nLaozi Riding an Ox"", ""分類"": ""繪畫"", ""作者"": ""晁補之,Zhao Buzhi"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""50.6x20.4""}, {""位置"": ""詩塘"", ""尺寸(公分)"": ""29x20.5""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}, {""質地位置"": ""詩塘"", ""質地"": ""紙""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""晁補之\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""晁无咎寫"", ""書體"": ""行書"", ""全文"": ""晁无咎寫"", ""印記資料"": [{""印主"": ""晁補之"", ""印記"": ""雲屏煙障吾廬""}]}, {""題跋類別"": ""題跋"", ""作者"": ""清高宗\n印記\nexpand_more"", ""位置"": ""本幅"", ""款識"": ""御題"", ""書體"": ""行書"", ""全文"": ""黃髮番番背已台。禹餘暫下九琳臺。五千不是閒拋置。為付關門令尹��。御題。"", ""印記資料"": [{""印主"": ""清高宗"", ""印記"": ""會心不遠""}, {""印主"": ""清高宗"", ""印記"": ""德充符""}]}, {""題跋類別"": ""題跋"", ""作者"": ""王詵\n印記\nexpand_more"", ""位置"": ""詩塘"", ""款識"": ""晉卿"", ""書體"": ""草書"", ""全文"": ""瞬瞬西由。打失心修。爾我誰道。騎牛覓牛。君可養慎。子也方收。立脊吐眼。膽直魂勾。木雞牝迸。灑樂心謳。我我無我。歷歷悠悠。晉卿。"", ""印記資料"": [{""印主"": ""王詵"", ""印記"": ""洗硯魚吞墨烹茶鶴避烟""}, {""印主"": ""王詵"", ""印記"": ""隴西□""}]}]","[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""有明文靖世家圖書""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""太上皇帝""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""珠林重定""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""秘殿珠林""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""秘殿新編""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾清宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑒璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""聖賢"", ""主題說明"": ""老子""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""牛"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""經史‧故事"", ""主題(第二層)"": """", ""主題說明"": ""老子騎牛""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}]",,"{""收藏著錄"": [""秘殿珠林續編 （乾清宮），第一冊，頁229"", ""故宮書畫錄（卷五），第三冊，頁68"", ""故宮書畫圖錄，第一冊，頁315-316""], ""參考書目"": [""1.王耀庭，〈宋晁補之老子騎牛圖〉，收入王耀庭、童文娥編，《長生的世界：道教繪畫特展圖錄》（臺北：國立故宮博物院，1996年初版），頁66。\r\n2.本社，〈宋晁補之老子騎牛圖〉，《故宮文物月刊》，第23期（1985年2月），封底裡。"", ""邱士華，〈宋晁補之老子騎牛圖　軸〉，收入邱士華主編《行篋隨行-乾隆南巡行李箱中的書畫》（臺北：國立故宮博物院，2017.03），頁34-37。""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000071N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000071N000000000')""}]}"
-13951,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/13951?dep=P&mode=full,宋趙伯駒阿閣圖　軸,"{""文物統一編號"": ""故畫000074N000000000"", ""作品號"": ""故畫00007400000"", ""品名"": ""宋趙伯駒阿閣圖　軸"", ""分類"": ""繪畫"", ""作者"": ""趙伯駒"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""73.3x55.6""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""□鑒珍藏之印""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""石渠定鑑""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""重華宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""寶笈重編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""宮殿"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""官員（臣）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""仕女"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""名勝"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""雲"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""水榭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""池水"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""庭院"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""鸞鳳"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""楊柳"", ""主題說明"": """"}]","[{""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": """"}, {""技法"": ""雙鉤"", ""技法細目"": """"}]","{""內容簡介"": [""趙伯駒（約1120-1162）（應生於徽宗宣和五年(1123)，死於南宋孝宗乾道九年(1173)以前，高宗紹興三十年(1160)以後。）字千里，宋太祖七世孫。建炎隨駕南渡，流寓錢塘，擅長青綠山水，取法李思訓父子，高宗時任浙東兵馬鈐轄。宮殿閣道，上接層觀，人物車馬俱備，無名款。詩塘有明董其昌（1555-1636）審定記錄「趙千里學李昭道宮殿，足稱神品，董其昌審定。」畫面呈現的是建在廣闊高大平台上的宮室建築群，主體建築屋頂一半嵌入另一個歇山的「三重檐歇山頂」較為少見，其下平坐四周有鉤欄，施雁翅板。整個廣場呈凸字形，台身下大上小，有明顯收分。宋代建築中柱頭鋪作之間的斗栱一般只有一朵或兩朵，此圖中前方臨水殿補間鋪作有一至三朵，排列均勻，形制近元代，可比較元人「建章宮圖」。圖中屋頂用石青、石綠填色（表示藍綠琉璃瓦），屋瓦皆省略不繪，格子門裝修上部有橫披窗，下部柱間裝有鉤欄，間掛竹簾。脊飾瓦獸描金，斗栱裝飾化，屋瓦皆省略不畫。拱眼壁塗石青，欄杆接處、搏風版、垂魚、惹草皆以金粉描之。\r\n此圖建築精巧宏偉，旁依松崗池水，間植各式雜樹花卉，景物繁密裝飾性重，並與自然風景互相穿插。遠處雲霧重重，台基上仕女樂舞，目弟日邊雙鳳翱翔，似天宮樓閣非人間。（註1）畫風近於元王振鵬（1275-1328）而加上重色，屬於新舊風格的融合，可能是元代宮廷畫家所作。\r\n註 1: 明萬曆《三才圖會》插圖中有阿閣黃帝時造，帝王世紀曰：黃帝時白鳳巢於阿閣。《說文》樓重屋即閣也。(林莉娜)"", ""廣闊高台上的宮殿群，主殿屋頂一半嵌入另一個歇山之「三重檐歇山頂」較少見，以石青、石綠填色，屋瓦皆省略不畫。整個廣場呈凸字形，台身有明顯收分。脊飾、瓦獸皆描金，斗栱裝飾化。前方臨水殿闌額上補間鋪作有一至三朵，排列均勻，形制近元代。此宮苑建築精巧宏偉，旁依松崗池水，間植雜樹花卉。煙雲飄渺的台上有宮殿樓閣，配著宮女笙歌，景物繁密裝飾性重，可能是元代宮廷畫師所作。"", ""《文選‧古詩》：「交疏結綺窗，阿閣三重階。」阿閣言四面有檐的樓閣，主體建築其屋頂一半嵌入另一個歇山之「三重檐歇山頂」較少見，整個宮殿群立於凸字形高台，台從下往上逐步收分，四周以較低建築，擁簇中央高聳殿閣。屋頂用石青、石綠填色（宋代以後屋頂大量採用琉璃瓦裝飾），屋瓦皆省略不畫。此宮苑建築精巧宏偉，煙雲飄渺的台上有宮殿樓閣，配著宮女笙歌，景物繁密裝飾性重，畫風近於王振鵬，可能是元代宮廷畫家所作。""], ""Description"": ""The main building here has an unusual triple-eave, hip-and-gable roof with penetrating ridges. The roof is colored with azurite and malachite, but the artist did not use lines to show individual tiles. The ridge and tile ornaments were all done with gold, and the brackets appear ornate. The hall over the water has 1 to 3 brackets distributed above the lintels, similar to Yuan (1279-1368) examples and comparable to the Museum's The Chien-Chang Palace, an anonymous Yuan painting. This grand yet delicate palatial setting includes pines, hills, and a pond. Clouds swirl as palace ladies engage in music and song. The style is close to that of Wang Cheng-p'eng (1275-1328), indicating it may have been done by a Yuan court painter."", ""收藏著錄"": [""石渠寶笈續編（重華宮），第三冊，頁1526"", ""故宮書畫錄（卷五），第三冊，頁70"", ""故宮書畫圖錄，第二冊，頁5-6""], ""參考書目"": ""1.林莉娜，〈(傳)宋趙伯駒阿閣圖〉，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28-29、100。\r\n2.〈宋趙伯駒阿閣圖〉，收入國立故宮博物院編輯委員會編，《園林名畫特展圖錄》（臺北：國立故宮博物院，1987年十月初版），頁71。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000074N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000074N000000000')""}]}"
-1329,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1329?dep=P&mode=full,宋趙伯駒漢宮春曉　軸,"{""文物統一編號"": ""故畫000076N000000000"", ""作品號"": ""故畫00007600000"", ""品名"": ""宋趙伯駒漢宮春曉　軸\nSpring Morning in the Han Palace"", ""分類"": ""繪畫"", ""作者"": ""趙伯駒"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""41.4x35.5""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""春景"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""水榭"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""宮殿"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""庭院"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""橋"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}, {""技法"": ""界畫"", ""技法細目"": """"}, {""技法"": ""皴法"", ""技法細目"": ""斧劈皴""}]","{""內容簡介"": ""趙伯駒(約1120-1162)，宋太祖七世孫。令穰之子，仕至浙東 兵馬鈐轄。工山水、人物、樓台界畫。青嶂喬松，長橋跨空。重台樓閣，臨水而建，水上虛閣及亭台結構描繪仔細，可一窺古代建築風貌。"", ""Description"": ""Chao Po-chu, a seventh generation descendant of Emperor T'ai-tsu of the Sung dynasty, was the son of the well-known artist Chao Ling-jang. He excelled in painting landscape, figures and architecture. In this painting, green mountains extend in the background while tall pines grow on the foreground slope. A long bridge spans over the river and by the riverside there are layers of terraces, pavilions and resident buildings. The architectures are realistically depicted, revealing the styles of the painter's days."", ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁71"", ""故��書畫圖錄，第二冊，頁9-10""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000076N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000076N000000000')""}]}"
-1330,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1330?dep=P&mode=full,宋趙伯駒停琴摘阮圖　軸,"{""文物統一編號"": ""故畫000077N000000000"", ""作品號"": ""故畫00007700000"", ""品名"": ""宋趙伯駒停琴摘阮圖　軸\nThe Zither Player Rests as the Ruan Player Strums"", ""分類"": ""繪畫"", ""作者"": ""趙伯駒"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""125.7x51.2""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""收傳印記"", ""印主"": """", ""印記"": ""（一印漫漶不清）""}, {""印記類別"": ""收傳印記"", ""印主"": ""索額圖"", ""印記"": ""也園索氏收藏書畫""}, {""印記類別"": ""收傳印記"", ""印主"": ""阿爾喜普"", ""印記"": ""東平""}, {""印記類別"": ""收傳印記"", ""印主"": ""阿爾喜普"", ""印記"": ""阿爾喜普之印""}, {""印記類別"": ""收傳印記"", ""印主"": ""項元汴"", ""印記"": ""項子京家珍藏""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""高士（士人、隱士）"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""侍從（侍女、童僕）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""石磴、棧道"", ""主題說明"": ""石磴""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""果蔬"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""水仙"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梔枝"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""庭院"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""欄杆"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""翎毛"", ""主題(第二層)"": ""喜鵲"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": ""毯；蓆""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": ""水果盤""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""樂器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""松"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}]","{""內容簡介"": ""趙伯駒（約1120-1162），字千里。乃宋太祖七世孫。趙令穰之子，官至浙東 兵馬鈐轄。善青綠山水及木石，兼工花卉翎毛，尤長於人物，精神清潤，能別狀貌。本幅寫松石間瓜果堆盤，一人袒衣席地撥阮咸，一人背坐握羽扇傾聽，橫琴於膝，二童子捧壺執卷。人物、配景俱用鉤勒填彩法敬謹寫就，間或輔以胡粉重提、暈染，黑白相映，分外照人眼明。"", ""Description"": ""Chao Po-chu was the son of Chao Ling-jang and a seventh generation descendant of T'ai-tsu, the founder of the Sung dynasty. He was a skilled painter of landscapes in blue and green style and also adept at depicting birds and flowers and figures. By a pine and rock are a pile of melons. One man, with upper garment bared, plucks a juan lute. Another man behind listens while he cools himself with a feather fan, a ch'in resting across his lap. Two young servants stand in attendance with vase and scroll. Figures and background are carefully drawn with colors added. Washes and a light powder are used to accentuate and highlight the figures."", ""收藏著錄"": [""石渠寶笈三編（延春閣），第三冊，頁1446"", ""故宮書畫錄（卷五），第三冊，頁71-72"", ""故宮書畫圖錄，第二冊，頁11-12""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000077N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000077N000000000')""}]}"
-1331,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1331?dep=P&mode=full,宋趙伯駒畫海神聽講圖　軸,"{""文物統一編號"": ""故畫000078N000000000"", ""作品號"": ""故畫00007800000"", ""品名"": ""宋趙伯駒畫海神聽講圖　軸\nWater Spirits Listening to an Exposition of the Buddhist Scriptures"", ""分類"": ""繪畫"", ""作者"": ""趙伯駒"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""137.4x73.2""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""太上皇帝之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""珠林重定""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""秘殿珠林""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""秘殿新編""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾清宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""其他主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""神、仙"", ""主題說明"": ""海神""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""羅漢（應真、尊者）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""龍"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""建築"", ""主題(第二層)"": ""臺閣"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""經史‧故事"", ""主題(第二層)"": """", ""主題說明"": ""海神聽講""}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""宗教器用"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}, {""技法"": ""工筆"", ""技法細目"": """"}]","{""內容簡介"": ""趙伯駒(1120-1162前後)，字千里。是宋朝宗室，太祖的第七世孫。善畫山水及木石，兼畫花卉翎毛。畫人物，精神清潤，能把握特徵。這幅畫佛盤膝坐氈上說法，下方海神身披弓劍跪地合掌參拜。前置海神奉獻的聚寶盆。几上瓶中有煙，將說法內容顯現於後，作雲中的宮闕。但因絹色陳舊，不容易看清楚。全幅人物勾畫圓勁，著色明淨沉靜，神采不減於新畫。"", ""Description"": ""Chao Po-chu was a member of the Sung Imperial house, being descended in the seventh generation from T'ai-tsu emperor. He excelled at painting landscapes, figures, and architecture, but was also competent in bird and flower paintings. He painted his figures with moist brush and was able not only to portray his subjects with fresh charm but also with accurate grasp of their characteristics. This painting shows a lohan sitting cross-legged on a rug, expounding scripture. Below is kneeling an ocean spirit wearing both sword and bow who has come to attend the ritual. In the foreground is a magic vessel offered by the ocean spirit. From a vase on the table emanates incense smoke, which rises into mid-air and reveals heavenly palaces and halls. The age of the silk makes the picture dark and somewhat unclear. However, the figures are painted with such vigour of stroke and the colors possess such calm and purity that the essential spirit of the work remains unimpaired."", ""收藏著錄"": [""秘殿珠林續編（乾清宮），第一冊，頁75"", ""故宮��畫錄（卷五），第三冊，頁72"", ""故宮書畫圖錄，第二冊，頁13-14""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000078N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000078N000000000')""}]}"
-1326,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1326?dep=P&mode=full,宋馬和之閒忙圖　軸,"{""文物統一編號"": ""故畫000081N000000000"", ""作品號"": ""故畫00008100000"", ""品名"": ""宋馬和之閒忙圖　軸\nSpare-time Occupation"", ""分類"": ""繪畫"", ""作者"": ""馬和之"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""124.5x67.2""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""漁夫、船夫"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""江河、湖海"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""耕織漁獵"", ""主題說明"": ""漁具""}]","[{""技法"": ""人物衣紋描法(粗細線條)"", ""技法細目"": """"}]","{""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁73"", ""故宮書畫圖錄，第二冊，頁25-26""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000081N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000081N000000000')""}]}"
-916,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/916?dep=P&mode=full,宋李唐乳牛圖　軸,"{""文物統一編號"": ""故畫000084N000000000"", ""作品號"": ""故畫00008400000"", ""品名"": ""宋李唐乳牛圖　軸\nOxen"", ""分類"": ""繪畫"", ""作者"": ""李唐"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""46.4x62.5""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""題籤"", ""作者"": ""梁清標"", ""位置"": ""裱綾"", ""款識"": ""蕉林重裝"", ""書體"": ""行楷書"", ""全文"": ""李晞古乳牛圖。蕉林重裝。廿九。""}]","[{""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""棠村審定""}, {""印記類別"": ""收傳印記"", ""印主"": ""梁清標"", ""印記"": ""蕉林""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""牧童"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""走獸"", ""主題(第二層)"": ""牛"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""蘆葦"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]",,"{""內容簡介"": [""李唐生平，見「仙巖採藥」。\r\n    一位牧童趴伏在母牛背上，小牛緊隨在後，引頸低呼，母牛搖尾相應，親子間孺慕之情，藉由小牛眼嘴神態的傳達，表露無遺。幅中二牛體，皆先用墨筆鈎出輪廓，再以細勁的墨筆絲出呈渦紋狀走向的牛毛，而後再於牛的下腹等處加以烘染，二牛形體神韻描繪俱佳。田野的竹叢以及蘆葦，亦敷色清雅，層次分明，是幅為一件很好的牛畫作品。（張華芝）"", ""一位牧童趴伏於母牛背上，小牛跟隨在後，引頸低呼，老牛搖尾相應，母子親情，描寫欲活。本幅並無作者款印，裱綾有清代鑒賞家梁清標所書之題籤，云：「李晞古乳牛圖」。不過本幅牛體、皴石之用筆皆與李唐（西元1049－1130年）畫風有別，或屬明代早期之作。\r\n　　李唐，字晞古。河南孟縣人。擅山水、人物，也長於畫牛。徽宗朝進入畫院，高宗建炎年間，授成忠郎銜任畫院待詔。""], ""Description"": ""A boy lies on the back of a mother ox. Her calf is shown following with its neck craned and bellowing. The ox wags her tail in response. This heartwarming relationship between mother and child is lovingly portrayed here. Although this painting bears no seal or signature of the artist, it was attributed by the Ch’ing connoisseur Liang Ch’ing-piao to Li T’ang. The description of the oxen and the texture strokes of the rocks, however, differ from those of Li T’ang. This is perhaps a work from the early Ming dynasty (1368-1644). Li T’ang specialized in landscape, figure, and ox painting. Under Hui-tsung, he entered the Painting Academy. He resumed service under Kao-tsung in the late 1120s, becoming Painter-in-Attendance."", ""收藏著錄"": [""故宮書畫錄（卷五），第三冊，頁76"", ""故宮書畫圖錄，第二冊，頁47-48""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000084N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000084N000000000')""}]}"
-1355,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/1355?dep=P&mode=full,宋蘇漢臣貨郎圖　軸,"{""文物統一編號"": ""故畫000090N000000000"", ""作品號"": ""故畫00009000000"", ""品名"": ""宋蘇漢臣貨郎圖　軸\nThe Knick-Knack Peddler"", ""分類"": ""繪畫"", ""作者"": ""蘇漢臣"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""159.2x97""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]",,"[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""石渠寶笈""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""寶笈三編""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""貨郎"", ""主題說明"": """"}, {""主題類別"": ""次要主題"", ""主題(第一層)"": ""人物"", ""主題(第二層)"": ""孩童"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""車"", ""主題(第二層)"": ""人力車"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""水仙"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""茶花"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""花草"", ""主題(第二層)"": ""梅（白．紅．蠟梅）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": """", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""服飾（對人）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""花器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""童玩"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""飲食器"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""竹"", ""主題說明"": """"}]","[{""技法"": ""工筆"", ""技法細目"": """"}]","{""收藏著錄"": [""石渠寶笈三編（延春閣），第七冊，頁3304"", ""故宮書畫錄（卷五），第三冊，頁80-81"", ""故宮書畫錄，第二冊，頁73-74""], ""參考書目"": [""1.〈傳宋蘇漢臣貨郎圖〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁178。\r\n2.馬晉封，〈蘇漢臣貨郎圖〉，《故宮文物月刊》，第11期（1984年2月），頁65-69。"", ""童文娥，〈宋蘇漢臣貨郎圖　軸〉，收入童文娥主編《畫琳瑯—貨郎圖》（臺北：國立故宮博物院，2021.04），頁32-39、140。""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000090N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000090N000000000')""}]}"
-940,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/940?dep=P&mode=full,宋賈師古大士像　軸,"{""文物統一編號"": ""故畫000092N000000000"", ""作品號"": ""故畫00009200000"", ""品名"": ""宋賈師古大��像　軸\nKuan-yin Bodhisattva"", ""分類"": ""繪畫"", ""作者"": ""賈師古"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""42.2x29.8""}]","[{""質地位置"": ""本幅"", ""質地"": ""紙""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""賈師古"", ""位置"": ""本幅"", ""款識"": ""師古"", ""書體"": ""楷書"", ""全文"": """"}]","[{""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""太上皇帝""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""珠林重定""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""祕殿珠林""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""祕殿新編""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾清宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""山水"", ""主題(第二層)"": ""奇石"", ""主題說明"": """"}, {""主題類別"": ""主要主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""觀音"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""宗教器用"", ""主題說明"": """"}]",,"{""內容簡介"": ""觀音菩薩悠閒自在地靠在岩石上，手中淨瓶灑下的甘露化成一朵蓮花。觀音的輪廓和五官以細筆鉤畫，勻整細緻，衣紋線條粗細變化很大，強勁有力。根據畫上「師古」兩字的款題，過去認為這件畫軸是宋代賈師古（活動於1131－1162）的作品，可是畫中畫石的方法和明初的山水畫近似，應該是一幅明代畫家假借賈師古之名的作品。雖然如此，但他的繪畫技巧純熟，仍不失為一幅佛教畫的佳作。"", ""Description"": [""Chia Shih-ku was a native of K'ai-feng, in Honan province. He served at the court painting academy during the Shao-hsing reign (1131-1162). A skilled painter of religious subject, Chia Shih-Ku followed the style of Li Kung-lin. His pai-miao (ink outline) figures have an untrammeled air. The bodhisattva, adorned with jewels, is seated on a rocky cliff. The water of Buddha-truth pours out from her vase and transforms into a lotus flower. Her manner is vary relaxed. Cliff rocks are modeled with axe-cut texture strokes ,and the brushstrokes are vigorous and unrestrained. The bodhisattva's hair and details of her face are all meticulously outlined ; the folds of her robes are distinctly executed with an angular brushline. The brush work within the painting is lively, full of variation , and nicely balanced."", ""Kuan-yin sits leaning on a rock as the water of Buddha-truth pours from the vase she is holding and transforms into a lotus blossom. The details of Kuan-yin are rendered with exceptionally fine brushwork. In contrast, the drapery lines vary considerably in thickness and are done with great force. Judging from the “Shih-ku” signature to the lower right of the figure, this work was considered at one point to have been painted by the Sung artist Chia Shih-ku. However, the treatment of the rocks is similar to landscape painting of the early Ming (l368-1644), indicating that the signature is a later addition. Nevertheless, the mature and skillful painting techniques still make this a masterpiece of Ming dynasty Buddhist art.""], ""收藏著錄"": [""秘殿珠林續編（乾清宮），第一冊，頁78"", ""故宮書畫錄（卷五），第三冊，頁81-82"", ""故宮書畫圖錄，第二冊，頁91-92""], ""參考書目"": ""1.李玉珉，〈(傳)宋賈師古大士像〉，收入李玉珉主編，《觀音特展》（臺北：國立故宮博物院，2000年初版），頁191。\r\n2.〈宋賈師古大士像〉，收入劉芳如主編，《書畫裝池之美》（臺北：國立故宮博物院，2008年初版一刷），頁58。\r\n3.本社，〈賈師古大士像〉，《故宮文物月刊》，第27期（1985年6月），頁1。""}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000092N000000000')""}, {""文本"": ""修護紀��"", ""onclick"": ""Repair('故畫000092N000000000')""}]}"
-937,https://digitalarchive.npm.gov.tw/opendata/Pub/Detail/937?dep=P&mode=full,宋劉松年畫羅漢　軸,"{""文物統一編號"": ""故畫000100N000000000"", ""作品號"": ""故畫00010000000"", ""品名"": ""宋劉松年畫羅漢　軸\nLohan"", ""分類"": ""繪畫"", ""作者"": ""劉松年,Liu Songnian"", ""創作時間"": ""宋寧宗開禧三年（1207）"", ""數量"": ""一軸""}","[{""位置"": ""本幅"", ""尺寸(公分)"": ""118.1x56""}]","[{""質地位置"": ""本幅"", ""質地"": ""絹""}]","[{""題跋類別"": ""作者款識"", ""作者"": ""劉松年"", ""位置"": ""本幅"", ""款識"": ""開禧丁卯（西元一二○七年）。劉松年畫。"", ""書體"": """", ""全文"": """"}]","[{""印記類別"": ""收傳印記"", ""印主"": ""南宋內府印"", ""印記"": ""內府書畫""}, {""印記類別"": ""收傳印記"", ""印主"": ""祥哥剌吉"", ""印記"": ""皇姊圖書""}, {""印記類別"": ""收傳印記"", ""印主"": ""明官印"", ""印記"": ""禮部評驗書畫關防（半印）""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""三希堂精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""太上皇帝""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""宜子孫""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清宣統帝"", ""印記"": ""宣統御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清宣統帝"", ""印記"": ""宣統鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""珠林重定""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清內府印"", ""印記"": ""秘殿珠林""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""秘殿新編""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾清宮鑑藏寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆御覽之寶""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清高宗"", ""印記"": ""乾隆鑑賞""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清宣統帝"", ""印記"": ""無逸齋精鑑璽""}, {""印記類別"": ""鑑藏寶璽"", ""印主"": ""清仁宗"", ""印記"": ""嘉慶御覽之寶""}]","[{""主題類別"": ""主要主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""羅漢（應真、尊者）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""佛道人物"", ""主題(第二層)"": ""供養人"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""宗教器用"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""器用"", ""主題(第二層)"": ""傢俱（屏風）"", ""主題說明"": """"}, {""主題類別"": ""其他主題"", ""主題(第一層)"": ""樹木"", ""主題(第二層)"": ""芭蕉"", ""主題說明"": """"}]",,"{""內容簡介"": [""劉松年（活動於1174-1224），錢塘（今浙江杭州）人。又劉清波和暗門劉之號。孝宗、光宗和寧宗三朝，任職畫院。工畫山水、人物，時稱絕品。\r\n　　此軸畫一羅漢拄杖而坐，一在家弟子執經問義。羅漢抿嘴，雙眼專注，神情生動。羅漢衣上的圖案和屏風上的木紋以描繪如真。羅漢身後的屏風，以水墨畫蘆汀雙鷺和秋渚鴛鴦，筆簡墨淡，若有蒸嵐迷霧，清遠虛曠，正是典型的南宋汀渚水鳥畫作。(20101015)"", ""劉松年（活動於西元一一七四至一二二四年），錢塘（今浙江杭州）人，居 清波門，俗呼暗門劉。南宋孝宗淳熙間為畫院學生，至紹熙年間成為畫院待詔。山水人物師張敦禮，而神氣清妙，時稱絕品。 本院藏畫中，有三幅劉松年畫羅漢。每幅都署款「開禧丁卯（西元一二○七 年）劉松年畫」，筆墨也極接近，應是同時之作。此幅描繪羅漢坐於屏風下，一侍者捧經立於其前。筆力秀勁，傅彩精麗。連布紋、木紋也細繪如?。 尊者柱杖坐，一僧執經問義。有「內府書畫」「皇姊圖書」印。按「內府書畫印」凡六見：一見於唐盧楞伽十八羅漢冊（見喜龍仁中國畫第三冊圖八九下），一見於北宋趙令穰橙黃橘綠冊（見本書圖七○）；一見於宋高宗書紈扇（為趙令穰橙黃橘綠冊對幅，未印）；另三印即見於此三幅羅漢像中。盧楞伽羅漢冊，「內府書書」印鈐於左上角，「皇姊圖書」印鈐於右上角；趙令穰畫及宋高宗書，因係圓幅，「內府書畫」印皆鈐於正中上方。亦無「皇姊圖書」印。此三幅羅漢像，「內府書畫」印，皆鈐於左上方。而「皇姊圖書」印，第一幅鈐於左上方，在「內府書畫」印之下；第二、三兩幅，則鈐於右上方。據此，則知「內府書畫」印，鈐蓋有定位，而「皇姊圖書」印��定位。亦即證知「內府書畫」印在「皇姊圖書」印之前。故「內府書畫」印在時間上之上限為開禧丁卯（一二○七），下限為元貞乙未（一二九五），極可能為宋寧宗收藏印。""], ""Description"": [""Liu Sung-nien, a native of Chekiang, was a student in the Painting Academy and later served as a Painter-in-Attendance during the Shao-hsi period (1190-1195). He lived outside the Ch'ing-p'o Gate so people called him Liu Ch'ing-p'o. He was also called An-men Liu. He learned the art of painting landscapes and figures from Chang Tun-li. Liu's paintings often are said to have a pure and exquisite spirit, and, at the time, they were considered second-to-none. This is one of three lohan paintings by this artist in the Museum, Each bears the signature, “Painted in 1207 by Liu Sung-nien” The brushwork in all three is quite similar, and so they must have been painted at about the same time. A lohan is seated in front of a screen, attended by a servant who is holding a sutra. The brushwork and coloring of this painting are particularly fine, even the lines of the garments and the grain of the wood are carefully and realistically rendered. The lohan sits holding a staff. A priest questions him about the meaning of a sutra scroll. The signature is again the same. All three scrolls bear the seals “Nei Fu Shu Hua” and “Huang Chieh T'u Shu”. The seal “Nei Fu Shu Hua” appears on six paintings: “Eighteen Lohans” by Lu Leng-chia of the T'ang (see Hsi Lung-jen, Chung-kuo hua, Vo1. Ⅱ, pl. 89b), “Orange Groves in Bloom” by Chao Ling-jang of the Northern Sung (see No. 70), a round fan of calligraphy by the Sung emperor Kao-tsung(the facing leaf to Chao Ling-jang's painting; unpublished), and the three paintings by Liu Sung-nien now under discussion. In the Lu Leng-chia album the “Nei Fu Shu Hua” seal is placed at the upper left corner and “Hung Chieh T'u Shu” appear in the upper right corner. Chao Ling-jang's painting and Sung Kao-tsung's calligraphy are both round fans, and the “Nei Fu Shu Hua” seal appears at the top center on both. Neither bears the “Huang Chieh T'u Shu” seal."", ""Liu Songnian was a native of Qiantang (modern Hangzhou, Zhejiang) also known by the sobriquets “Liu Qingbo” and “Anmen Liu.” He served in the Painting Academy during the reigns of three emperors: Xiaozong, Guangzong, and Ningzong. He was gifted at landscapes and figures, creating unparalleled works praised at the time.\r\n\tThis work depicts a seated Buddhist lohan leaning against a staff with a lay disciple in front of him holding a scripture to inquire of its meaning. The patterns of the lohan’s clothing and that of the wood grain on the screen behind him are all rendered quite realistically. The screen also features a paneled monochrome ink painting with a pair of egrets by a sandbar of reeds as mandarin ducks appear along an autumn shoal. The brushwork is succinct and the ink light, as if a hazy mist permeates the scene to create a pure and remote feeling of spacious void. This is typical of Southern Song shoal-and-waterfowl painting.(20101015)""], ""參考書目"": [""陳韻如，〈宋劉松年畫羅漢　軸〉，收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》（臺北：國立故宮博物院，2016.10），頁24-27、256。"", ""何傳馨，〈宋劉松年畫羅漢　軸〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁248、375。"", ""1.李玉珉，〈宋劉松年畫羅漢〉，收入李玉珉主編，《羅漢畫》（臺北：國立故宮博物院，1990年初版），頁75。\r\n2.李玉珉，〈劉松年畫羅漢〉，收入石守謙、葛婉章主編，《大汗的世紀:蒙元時代的多元文化與藝術》（臺北：國立故宮博物院，2001年初版），頁290-291。\r\n3.本社，〈劉松年畫羅漢〉，《故宮文物月刊》，第72期（1989年3月），頁1。\r\n4.《劉松年畫羅漢》（台北：國立故宮博物院，1980）。\r\n5.楊美莉，《劉松年畫羅漢三軸之研究－兼論宋人之羅漢信仰－》，國立台灣大學歷史學研究所中國藝術史組碩士論文，1982年。\r\n6.梁婷育，《劉松年《羅漢》三軸畫史意義之研究─兼論其宗教意涵與圖像表現》，南華大學美學與藝術管理研究所碩士論文，2007年。\r\n7.李玉珉，〈畫羅漢〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁375。""], ""收藏著錄"": [""秘殿珠林續編（乾清宮），頁76"", ""故宮書畫錄（卷五），第三冊，頁88-89"", ""故宮書畫圖錄，第二冊，頁105-106""]}","{""說明"": ""本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理"", ""相關連結"": [{""文本"": ""抽盤點紀錄"", ""onclick"": ""Invertory('故畫000100N000000000')""}, {""文本"": ""修護紀錄"", ""onclick"": ""Repair('故畫000100N000000000')""}]}"