李成認(rèn)領(lǐng)

絹本，水墨設(shè)色，111.4*56厘米，美國納爾遜-阿特金斯藝術(shù)博物館藏。圖上所畫為冬日山谷景色，二處高峰聳立，挺拔險(xiǎn)峻，一道瀑布從高處傾瀉而下，與一道低瀑匯合成河。中景山丘上建有寺塔樓閣，宏偉優(yōu)美，近處廳臺(tái)樓閣數(shù)座，游客聚集，談天說地，甚是愜意。李成，其傳世作品有《讀碑窠石圖》

During the tenth and eleventh centuries, majestic trees rivaled panoramic landscapes as sources of artistic inspiration. The hermit-painter Jing Hao (荊浩, ca.880–940), for example, saw in the pine tree "the moral character of the virtuous man," while the preeminent landscape master Li Cheng is said to have painted desolate scenes of winter because "men of virtue are now found only in the wilderness." Travelers in a Wintry Forest follows a well-known composition by Li Cheng as described by Mi Fu (米芾, 1051–1107) in his History of Painting (畫史). The scene is a microcosm of the natural cycle of growth and decay, with the great pine, symbolizing the virtuous gentleman, surrounded by trees ranging from youthful saplings to a shattered ancient hulk. The stoic silence of the wintry forest is matched by the unyielding spirit of the scholar on his donkey—the noble recluse who has entered the mountains to rediscover in nature the moral order that is lost in the human world.

絹本，水墨，畫芯45.2*143.2厘米，遼寧省博物館藏。圖上描繪的為夏日景色，近處溪橋流水，輕舟泊岸，廳臺(tái)樓閣，行人忙碌；遠(yuǎn)處山腰間瀑布飛瀉，溪流潺潺，云氣彌漫，宮殿密布。技法上不見筆痕，以擦染為主，山頂及樹木偶用重墨點(diǎn)出。卷首有乾隆題詞，畫上又再題一次，可見他對(duì)此畫的喜愛！

絹本水墨，畫芯27.1*113.2厘米，遼寧省博物館藏。圖上樹桿粗壯，但葉已落盡，應(yīng)為深秋或隆冬，鳥兒們?nèi)宄扇夯虻厣弦捠常驑渲ι嫌^望，嘰嘰喳喳，一起度過寒冬，地面的雜草上以及樹枝上以白線勾勒，是否為沒融化完的殘雪？李成，字咸熙，五代宋初畫家，喜畫平遠(yuǎn)寒林，畫法簡練，好用淡墨，有“惜墨如金”之稱。