【国画基本信息】
| 作者 | 李坡 |
| 品名 | 风竹图轴 |
| 朝代 | 五代南唐 |
| 文件大小 | 18.03MB |
| 分辨率 | 300x300 |
| 像素大小 | 2054x2927 |
| 尺寸（CM） | 17.39x24.78 |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 绘画 |
| 品名 | 五代南唐李坡风竹 轴 Bamboo in the Wind |
| 分类 | 绘画 |
| 作者 | 李坡;Li Po |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 131.2x91.5 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 绢 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 主要主题 | 树木 | 竹 | |
| 其他主题 | 花草 | 草 |
技法
| 【技法】 | 【技法细目】 |
| 皴法 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 故宫书画录（卷五），第三册，页18 |
| 收藏着录 | 故宫书画图录，第一册，页73 |
| 参考书目 | 1.高木森，〈故宫博物院所藏李颇风竹图的时代问题〉，《故宫季刊》，第十二卷第三期（1978年春），页77-89。 |
| 内容简介（中文） | 李坡（活动于公元十世纪中叶），一作颇，江西南昌人。善画竹，气韵飘举，不求小巧，任率落墨，便有生意，然传世作品不多。世传墨竹画，起源于五代南唐时郭崇韬妻李夫人。此幅画坡石间，竹干两竿，临风摇曳，旧传为李坡作品。然以竹叶出枝，与焦墨枯笔画法论，颇似元人作风。 |
| 内容简介（英文） | Li P’o, a native of Nan-ch’ang in Kiangsi, excelled at painting bamboo in an elegant manner. Not striving for technical virtuosity, he let the ink loose for a lively effect. Few of his works, however, are extant. Surviving works of bamboo in monochrome ink are said to have originated with the wife of Kuo Ch’ung-t’ao in the Southern T’ang who went by the surname Li. This work depicts a few stalks of bamboo on a slope among earthen forms as they sway in the breeze. The old attribution is to Li P’o, but the bamboo leaves and growth of the branches, along with the scorched ink and dry brushwork, appear more similar to the techniques of a Yuan dynasty (1279-1368) artist. |
| 内容简介（中文） | 坡石间，墨竹两竿，临风摇曳，叶叶相交，似飒飒有声，曲尽生意。本幅无画家款印，旧传为李坡作品。然由土坡至竹丛主干作明显之S形构图，极类本院所藏之文同〈墨竹〉，而焦墨枯笔画法又颇似元人作风，疑为元人所为。 李坡（活动于10世纪中期），一作颇，江西南昌人。善画竹，气韵飘举，不求小巧，任率落墨，便有生意，然传世作品不多。 (20110913) |
| 内容简介（英文） | This work depicts a few stalks of bamboo on a slope swaying in the breeze among earthen forms. The leaves intersect so that it is almost as if we can hear them rustle in the wind, creating a most lively effect. The painting bears no seal or signature of the artist, but its old attribution is to Li Po. However, the obvious “S”-shaped composition from the slope to the main bamboo cluster is quite similar to Wen Tong’s “Bamboo in Monochrome Ink,” also in the Museum collection. Furthermore, the method of painting with scorched ink is quite similar to the style used in the Yuan dynasty, suggesting this work may have been done by a Yuan artist. Li Po, a native of Nanchang in Jiangsi, excelled at painting bamboo in a refined and elegant manner. Not striving for technical virtuosity, he let the ink loose for a direct and lively effect. Unfortunately, few of his works are extant. (20110913) |
