书体:

色彩:

青绿

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宝笈三编
鑑藏宝玺：避暑山庄
收传印记：濠梁胡氏
收传印记：相府图书
收传印记：子长
收传印记：项笃寿印
收传印记：丹诚
收传印记：珍祕
收传印记：宜尔子孙
收传印记：真赏
收传印记：琴书堂
收传印记：都尉耿信公书画之章
收传印记：公
收传印记：信公珍赏
收传印记：会侯珍藏
收传印记：阿尔喜普之印
收传印记：东平
收传印记：辽西郡图书印

题跋资料:

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：甲午新秋御题；书体：行书；全文：（甲午御题，诗文不录）印记：干、隆

主题:

主要主题：山水  主要主题：经史‧故事  ；其他主题：人物帝王 ；其他主题：人物后妃 ；其他主题：人物官员（臣） ；其他主题：人物仕女 ；其他主题：人物侍从（侍女、童仆） ；其他主题：人物军士 ；其他主题：人物行旅 ；其他主题：树木松 ；其他主题：花草梅（白．红．蜡梅） ；其他主题：走兽马 ；其他主题：建筑桥 ；其他主题：树木  ；其他主题：花草  ；其他主题：走兽  ；其他主题：走兽骡．驴 ；其他主题：山水石磴、栈道 ；其他主题：山水江河、湖海 

技法:

工笔 

参考资料:

收藏着录： 石渠宝笈续编（养心殿），第九册，页4397 收藏着录： 故宫书画录（卷五），第三册，页12 收藏着录： 故宫书画图录，第一册，页39-40 参考书目： 1.陈阶晋，〈唐人明皇幸蜀图〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页50-51。2.王耀庭，〈唐人明皇幸蜀图〉，收入王耀庭编，《青绿山水画特展图录》（台北：国立故宫博物院，1995年七月初版一刷），页76。3.陈韵如，〈（传）唐人明皇幸蜀图〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页147- 151。4.〈唐作者佚名明皇幸蜀图〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页197。5.陈韵如，〈〈明皇幸蜀图〉画意与风格的思考〉，《故宫文物月刊》，第273期（2005年12月），页30-39。6.李霖灿，〈山水画中点景人物的断代研究〉，《故宫季刊》，第十三卷第二期（1978年冬），页25-40。7.李霖灿，〈故宫博物院的名画宝藏(下)〉，《故宫季刊》，第十四卷第一期（1979年秋），页77-92。8.李如珊，《台北故宫本《明皇幸蜀图》研究》，国立台湾大学艺术史研究所硕士论文，2006年。9.杨元铮，〈谈耿昭忠与安岐的两方"珍祕"印〉，《故宫博物院院刊》，总第141期(2009年第1期)，页60-63。 10.陈阶晋，〈唐人明皇幸蜀图〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页238。11.赖国生；〈院藏高剑父山水图赏析〉，《故宫文物月刊》，第356期（2012年11月份），页116-126。 内容简介（中文）： 清宫收藏目录中原标此作为「宋人关山行旅图」，但学者依据苏轼《东坡题跋》等宋代资料，而改为今名，并推测是唐玄宗因安史之乱避幸四川之故实为画作主题。 画中山体的青绿设色与石质峭峰造型，确有唐代之源头，但其华丽而细致之敷染及精谨的线条运用，却显示出十一、二世纪仿本的特质。它的山体结构尤其接近出于十世纪末的《秘藏诠》版画中的山水。据文献所记，宋初四川亦多从事此风格，而被误认为唐代李思训作品者，今本是否属此，值得考虑。无论如何，此作代表着北宋对古典传统的继承，十分具有重要性。(20061206) 内容简介（中文）： 天宝十四年（西元七五五年）安禄山举兵造反，陷长安，明皇幸蜀避之。画中着朱衣者即明皇，骑三騣照夜白，出栈道飞仙岭下，乍见小桥，马惊不进。笔法精劲工细，青绿设色，绚灿华丽。有学者认为本幅系宋人据旧稿摹绘者。 内容简介（英文）： In 755, rebel forces led by An Lu-shan succeeded in capturing the capital, Ch'ang-an. Emperor Ming-huang was forced to flee the capital, and he sought refuge in Szechuan.In this painting, the figure wearing red clothing in the lower right corner is the emperor. Astride a horse with a braided mane, he rides along a mountainous path near towering peaks dotted with trees and interlaced with clouds. The emperor's horse is proceeding through the scene. The brushwork for outlining the forms in the painting is exquisite and taut, and mineral blue and green colors give it a jeweled effect.Some scholars believe this is a faithful copy of the original by a Sung dynasty (960-1279) artist. 内容简介（英文）： In the art catalogue of the Ch'ing dynasty court collection, this work was originally labeled as “Traveling through a Mountain Pass” by an anonymous Sung artist. However, based on such Sung materials as Su Shih's Colophons of Tung-p'o, scholars changed it to the present title and suggested that the subject actually represents the story of the T'ang emperor Hsüan-tsung (Ming-huang) fleeing to Szechwan from the An Lu-shan rebellion. The blue-and-green coloring of the mountains here and the precipitous forms of the peaks indeed derive from those in T'ang dynasty works. However, the refined and opulent application of washes and the precise use of lines are features that refer instead to this being a copy perhaps done in the 11th or 12th century. The mountain structure here is actually similar to the landscape in the woodblock print Illustrated Palace Tripitaka done in the late 10th century. According to texts, the style associated with Szechwan in the early Sung was mostly like this and had been mistakenly regarded as the work of the T'ang master Li Ssu-hsün. Whether this painting belongs to this manner, however, remains to be determined. theless, it represents the Northern Sung continuity of classical traditions and is quite important.(20061206) 网页展示说明 此图描写唐天宝年间安禄山造反，兵陷长安，明皇（玄宗）幸蜀避乱一事，史载「出栈道飞仙岭下，乍见小桥，马惊不进」，即是此景，画中着朱衣者即唐明皇。〈明皇幸蜀图〉亦称〈摘瓜图〉，相关画题多见于宋元文献，传世作品中与之构图相近的画作众多。本幅在画法仍保留了唐至五代的绘画特色，但形式上加入了宋人的山水结构理念。全作工整严谨，敷色妍丽，堪称早期青绿山水中的经典佳作。(20110913) 网页展示说明 This painting depicts what happened in the An Lushan Rebellion that took place in the Tianbao era of the Tang dynasty. Before rebel troops captured the capital of Chang’an (Xi’an), Emperor Minghuang (Xuanzong) escaped the chaos by taking an imperial journey to Shu (Sichuan). Historical records mention that the entourage crossed small bridges below lofty cascades on narrow plank paths so frightening that even the horses feared to go. Such a scene is depicted here, in which the red-robed figure is other than Emperor Minghuang.This painting is also known as “Picking Gourds,” and related paintings ascribed as such appear in Song and Yuan dynasty records, with many paintings surviving that are similar in composition to this work. The painting method of this work still preserves the stylistic features from the Tang dynasty to Five Dynasties period. However, in terms of form, it includes the idea of landscape structure from the Song dynasty. The work is carefully and meticulously done throughout with beautiful colors, making it worthy of being considered a classical masterpiece of early blue-and-green landscape painting.(20110913)