A Trio of National Treasure (國寶三重奏)

1. National Treasure Trio Palace Museum of Taiwan Fan Kuan, Guo Xi, Li Tang 台灣故宮國寶三重奏 范寬、郭熙、李堂 自動換頁 Auto page forward 編輯配樂：老編西歪changcy0326

3. National Palace Museum, Taiwan 台灣故宮博物院

7. Step up to 2F 步上二樓

8. The large mural AD on the 2F 二樓的大壁畫廣告

10. The exhibition location is rooms 204, 206 and 208 on the 2F of Palace Museum. 展覽地點，故宮博物院二樓 204、206 和 208 室。

12. The huge clear slides of the 3 national treasure works 三件國寶作品的巨幅清晰幻燈片

13. "Whispering Pines in Myriad Valleys"by Li Tang 《萬壑松風》李唐 "Travelers Among Mountains and Streams“by Fan Kuan 《谿山行旅》范寬 "Early Spring" by Guo Xi 《早春圖》郭熙 The three large hanging scrolls represent the paradigmatic shift in the "monumental" formula of landscape painting during the Northern Song period. 這三幅大掛軸，代表了北宋時期山水畫「不朽」的範例轉變。

14. Photography is prohibited at the exhibition of the original works of the three works. 三部作品真跡展覽處，禁止攝影。

15. National Treasure Trio 國寶三重奏

16. "Travelers Among Mountains and Streams" by Fan Kuan (950-1032), 《谿山行旅》范寬（950-1032） • This famous work celebrates the contrasts and textures of nature. An immense cliff dominates the background. • A fine cascade of water tumbles from a crevice on the right, with A fine cascade of water tumbles from a crevice. The rooftops of a temple silhouetted nearby. • A tiny row of mules and men walk near a stream, • and lush foliage alternates with sheer rock. • Although this painting was long thought to be the work of Fan Kuan, there was no evidence to support this until 1958, when a researcher at the National Palace Museum in Taipei discovered Fan Kuan’s signature hidden among the leaves of the tree behind the travelers. 這件著名的作品頌揚了大自然的對比和結構。 巨大懸崖在背景中占主導地位。 一道細細的瀑布從右側裂縫中傾瀉而下，附近有一座寺廟屋頂輪廓。 一小排騾子和旅人在溪旁行走，茂密樹葉與陡峭岩石交替出現。 雖傳此畫為范寬所作，但總無實據，直到一九五八年，台北故宮學者發現了范寬的落款 ── 藏在行旅後方的樹葉中。

17. A fine cascade of water tumbles from a crevice. 一道細細的瀑布從裂縫中傾瀉而下。

18. 《雨點皴》 "Rain-drop texturing"

19. Temple • 寺廟 • Travelling monk • 腳行僧 Donkey Train 驢隊 Detail of Travelers Among Mountains and Streams. 《谿山行旅圖》局部。

20. The rooftops of temple • 寺廟屋頂

21. A travelling monk 一個腳行僧

22. A donkey train carrying heavy loads is being led by two travelers as they slowly make their way to the left. 一列馱負重物的驢隊，由兩名行旅驅策著，由右向左緩緩前進。

23. In 1958 a scholar found that the artist had inserted a tiny signature near the line of mules and men who are threading their way through the rocky paths. 1958 年，一位學者發現，這位藝術家在騾子和穿過岩石小徑的旅人附近插入了一個小小的簽名。 Hidden signature 隱藏的簽名

24. Travelers Among Mountains and Streams: Fan Kuan’s signature hidden among the leaves. 《谿山行旅圖》 藏在葉片間的 范寬簽名。

26. "Early Spring" by Guo Xi (1023-1087) 《早春圖》郭熙（1023-1087） The main elements of the monumental landscape are arranged along the central axis of this vertical scroll. Large hills and pine trees in the foreground connect with the curved shapes of the middle-ground. Following a break in the mist, the slope climbs up and continues into the winding central mountain in the back. Several structures are tucked deep into the mountains on the right. The flattened ground to the left creates a balancing horizontal that complements the vertical heights of the mountain. 早春圖的景觀主要内容，是沿著這幅垂直捲軸的中軸排列。 前景中的大山和松樹與中間彎曲形狀地帶相連接。接著薄霧留白，斜坡繼續上升進入蜿蜒後面的中間山脈。 右側山中深處隱藏著幾座建築物。左側的平坦地面與垂直的高山相得益彰，創建一個橫向平衡。

27. Detail of Early Spring. • 《早春圖》局部。 The waterfall cascades down the mountain col under the building to form a pool. 瀑布沿著建築物下方的山坳流瀉而下，形成水潭。

28. In the mist and pervasive haze thraughout, hidden and scattered majastic temple pavilions can be vaguely seen on a hill top. 在薄霧瀰漫當中，隱約可見山巔上分佈著宏偉的廟宇樓閣。

30. The way the branches bend down appears quite similar to crab daws. 枝椏下垂的模樣，像極了螃蟹的足和爪。

31. The returning fisherman 歸來的漁夫

32. A skiff has just moored at the bank, the fisherman haveing just disembarked and carrying a load of fish. The mother with the baby, followed by a child servant with a pole, waited for the returning fisherman. 一艘蓬舟剛剛停泊靠岸，漁夫挑著一擔魚剛下船。懷抱著嬰兒的母親，跟著一位扛著扁擔的童僕，等著漁夫歸來。

33. Detail of Early Spring. • 《早春圖》局部。

34. A man accompanied by attendants carrying a load across the wooden bridge. 挑擔跨過木棧橋的主僕

35. Itinerant monks walking on a winding mountain path. 走在蜿蜒山徑上的行腳僧。

36. A boat man hard at work and a fisherman. 正在撐篙行進的舟子和漁夫。

37. Signed "Early Spring, Paintings by Guo Xi in RenZi Year" with a rectangular red seal of "Guo Xi Pen". 署款「早春，壬子年郭熙畫」，並有「郭熙筆」長方朱印。

38. The composition of a Chinese landscape painting on the 2F 二樓 中國山水畫的構圖 說明

39. "Whispering Pines in Myriad Valleys" by Li Tang (1049- 1130) 《萬壑松風》李唐（1049-1130） "Wind in Pines Among a Myriad Valleys" (also known as Whispering Pines in the Mountains) is the only painting clearly signed by the artist and is set on a mountain peak. The texture of the rocks in this painting is a standard example of the "ax-cut" strokes technique. Li Tang has many followers. He represented a vital link between the Northern Song school, and the later Southern Song painters, such as Xia Gui and Ma Yuan, both of whom studied Li's art. His "axe-cut" brushstrokes technique gives the rocks and mountains a particularly fine quality. 《萬壑松風》（又名「山間松語」）是唯一 一幅有藝術家明確署名的畫作，被置於一座山峰上。這幅畫中岩石的紋理是「斧劈」畫法的技術標準示例。 李唐追隨者眾多。他代表了北宋學派與後來的南宋畫家夏圭和馬遠之間的重要聯繫。他的“斧頭” 畫法技術，使岩石和山脈別具風格的優良品質。

40. In the remote valley among the mountains, dozens of densely packed verdant pines grow close knit with their roots exposed. 山間幽谷裡，數十棵蒼翠茂密的松樹，盤根錯節地生長在岩坡上。

41. Li Tang's method of rendering rock forms was to use the flanks of a brush with dark ink to quickly demacate them. 李唐畫岩石的方法，是運用毛筆的側鋒，沾上濃墨快速畫出。

42. 《斧劈皴》 “Axe-cut texturing”

43. Detail of Whispering Pines in Myriad Valleys. • 《萬壑松風》局部。

44. Li Tang’s signature appears on a pale spindly background peak to the left of the central mountain in this painting. It reads, “Painted by Li Tang of Heyang in the spring of the ‘Jiachen’ year (1124) of the Xuanhe Reign of the Great Song.” 李唐簽名出現在這幅畫中 山的左側一個蒼白細長背景的山峰上。上面寫著：「皇宋宣和甲辰春河陽李唐筆」，甲辰年（1124年）春，河陽李唐畫。

45. The peaks in either side feature a couple of rushing stream that wind their way downwards falling down step by step to lower part of painting. 兩旁山坳裡，幾道細細的泉瀑，順著下降地形，形成了層層急流，下降到繪畫的下部。

46. Flowing water itself has no form, so Li Tang used intersecting long and short arcing lines to amulate its shifting nature. He purfectlycatured the shifting bueaty of rushing waters, his technique continuing to amaze viewers even today! 流水本無定形，李堂以長短交錯的弧線，模擬出各種水流的樣態，極得盤旋動盪的美感，手法令人驚嘆！

47. TheEnd Music：Jasmine Flower (茉莉花)-Chinese Traditional Music http://www.slideserve.com/changcy0326/