《湘乡小景》卷，宋，赵士雷绘，绢本，设色，纵43.2cm，横233.5cm。

　　前隔水黄绫上有宋徽宗赵佶瘦金体书“□室士雷湘乡”等字题签。本幅上有清乾隆皇帝御题诗一首，尾纸有明顾从德、项子京、谢淞洲跋。钤项子京“子京珍秘”、“子京父印”、“项元汴氏审定真迹”等印，并钤有清乾隆帝“三希堂精鉴玺”、“乾隆御览”、“古希天子”及嘉庆皇帝“嘉庆御览之宝”、宣统皇帝“宣统御览之宝”诸玺。

　　此图为开阔的平远式构图，远景汀渚曲折，垂柳弄阴，一派仲夏景象；中景为辽阔的水面，有白鹭、野凫、鸳鸯等水禽嬉戏波间，富有情趣；近景绘高大的苍松，枝繁叶茂，一派生机。图中树木用宋人普遍运用的夹叶法表现，茂密的树叶为笔法工整的双勾填色，枝叶相互叠加，既有层次感又不失之于琐碎。此图所绘一湖两岸的小景致虽然缺少李唐、范宽高远式取景的壮美，然亦不乏田园诗的意境。

　　宋内府《宣和画谱》、明汪珂玉《珊瑚网》、清阮元《石渠随笔》、吴升《大观录》等著录。

　　此图流传有绪，初为宋徽宗赵佶收于内府，明代流入民间藏家之手，并且相互买卖，据图上题跋可知，顾从德于“嘉靖辛丑冬以五十金得之于黄茂夫氏”，项元汴“用原价购于上海顾氏”。清康熙朝时被献入清宫，著录于王原祁主编的《佩文斋书画谱》。雍正末年，皇室将其赐给在宫中负责鉴别内府所藏名画法书的谢淞洲，谢为此题“上距嘉靖辛丑一百九十五年吴门谢淞洲得之”。但不久，它又被乾隆帝收归清内府。宣统年间（1909－1911年），溥仪将它偷运出宫，被伪满洲国军人王学安掠得。王迫于战乱，将其收入铁筒埋于地下，后又转与好友王思民。解放后，归国家文物局所有，文物局将它拔交故宫博物院。此时，它已因霉烂过甚有近三分之二残破不全，经故宫博物院的专家重新揭裱、补绢、补色，得以重放异彩。

 

--------Introduction in English--------

 

Xiao Jing of Xiangxiang, Song Dynasty, Zhao Shilei Painting, Silk Text, Colour Setting, 43.2 cm in length and 233.5 cm in breadth.

Huang Qi, the former waterproof woman, had the inscriptions of Zhao You's thin gold body book of Song Huizong, and "Shi Shi Lei Xiangxiang" and so on. There is an imperial poem written by Emperor Qianlong of the Qing Dynasty in this picture. The end paper includes the posts of Ming Gu Congde, Xiangzijing and Xie Songzhou. Jun Xiangzijing's "Zijing Secret", "Zijing Father's Seal", "Xiangyuan Bian's Authenticated True Works" and other seals include the Qing Emperor Qianlong's "Sanxi Tang Exquisite Seal", "Qianlong Royal Seal Seal", "Guxi Tianzi" and Jiaqing Emperor's "Jiaqing Royal Seal Treasure", "Xuantong Emperor's"Xuantong Royal Seal Seal Seal Seal".

This picture is an open and far-sighted composition with twists and turns in Tingzhu and shadows in weeping willows. It is a midsummer scene. The mid-view is a vast water surface, with egrets, wild birds, mandarin ducks and other waterfowls playing in the waves, full of fun. The close-sighted picture shows tall pines, lush branches and leaves, a derivative of vitality. The trees in the picture are represented by the clipping method commonly used by the Song people. The dense leaves are filled with neat double-checks. The branches and leaves overlap with each other. They have both a sense of hierarchy and triviality. Although the small scenery on both sides of a lake depicted in this picture lacks the magnificence of Li Tang and Fan Kuan's lofty view, it also lacks the artistic conception of pastoral poetry.

Song Neifu's Xuanhe Painting Spectrum, Ming Wang Keyu's Coral Net, Qing Ruan Yuan's Stone Channel Essays and Wu Sheng's Daguanlu are recorded.

This picture is well-known. Zhao You, Huizong of the Song Dynasty, was collected in the inner government at the beginning. In the Ming Dynasty, Zhao You came into the hands of the folk Tibetans and traded with each other. According to the inscriptions and postscripts on the map, Gu Congde got it from Huang Maofu with 50 gold in Jiajing Xinugong and Xiang Yuanbian bought it from Shanghai Gu at the original price. During the Kangxi Dynasty of the Qing Dynasty, it was dedicated to the Qing Palace and recorded in Pei Wenzhai's Book of Painting and Calligraphy, edited by Wang Yuanqi. At the end of Yongzheng, the royal family gave it to Xie Songzhou, who was in charge of identifying the famous painting calligraphy in the palace. Xie was given the title "Xie Songzhou, Wumen, 195 years ago, from Xinchou, Jiajing". But soon it was taken back to the Qing government by Emperor Qianlong. During the reign of Xuantong (1909-1911), Puyi smuggled it out of the palace and was plundered by Wang Xue'an, a puppet Manchukuo soldier. Because of the war, Wang buried his income barrel underground and then turned to his friend Wang Simin. After liberation, it was owned by the State Administration of Cultural Relics, which handed it over to the Palace Museum. At this time, nearly two-thirds of it was damaged and incomplete due to mouldy rot. It was re-exposed by experts of the Palace Museum, silk and colour, so that it could be replayed brilliantly.