《岳阳楼图》

《岳阳楼图》页，元，夏永绘，绢本，墨笔，纵24.4cm，横26.2cm。

本幅无作者款识。右上蝇头小楷书23行《岳阳楼记》。有鉴藏印“廷相家藏图籍”一方。对幅钤“无棣李佐贤生平真赏”印。 

对开清代李佐贤题跋：“岳阳楼图，界画精巧，飞阁层檐，一丝不乱，楼中人物，纤悉具备，殆类鬼工。上题岳阳楼记，楷书如蝇头蚊脚，足使离娄失明，不知作者如何著笔。此等书画，乃宋人绝技，元明以后，已成《广陵散》矣。古今人不相及，即艺事可见。李佐贤识。”钤：“竹朋”印。

岳阳楼位于今湖南省境内，相传最早为三国时东吴名将鲁肃训练水师的阅兵台，更因北宋著名文学家范仲淹脍炙人口的《岳阳楼记》而著称于世，其与滕王阁、黄鹤楼并称为我国古代“三大名楼”。

此幅与故宫藏另一件《岳阳楼图》之构图、技法如出一辙，只是一为纨扇，一为册页。 其精整工细的线描正可谓“细若蚊睫，侔于鬼工”。这种纯以墨笔白描界画建筑的手法到元代以后已成绝响，以至于清人李佐贤误以为此图是宋人所为。

《丰乐楼图》

《丰乐楼图》页，元，夏永绘，绢本，墨笔，纵25.8cm，横25.8cm。

　本幅无名款，钤“夏明远印”1方。对开裱边有收藏印 “梁清标印”、“蕉林”2方。

　作者采用对角构图法，用水墨界画殿阁山水，线条纤如毫发，背景远山平缓润泽，开阔的水面与依依杨柳恰到好处地交待出建筑处于江南的环境。展观其作品，方寸之间微入毫芒，画家再现了宏大建筑的整体和细部，技艺精湛超凡，令人叹服。

此幅构图之用笔与故宫藏夏永另几幅界画作品如出一辙，作品所取材的“丰乐楼”早已不存，夏永极度写实的画风以及右上以“小如蚁目”的蝇头小楷题写的31行《丰乐楼记》，无疑成为今天了解这座在宋代杭州曾颇有声名的楼阁的重要史料。

 The word is far away, the name is far away. Qiantang (now Hangzhou, Zhejiang) is a native of unknown age. Jingjie Painting, especially good at palace and pavilion boundary painting, master Wang Zhenpeng. The Tengwang Pavilion, Yellow Crane Tower and Yueyang Tower are delicately and magnificently depicted with hair threads. They melt the towering Pavilion into the vast and distant natural landscape. "Flower jokes" cloud: "fine as mosquito eyelashes, but in the ghost worker." On the paintings, Wang Bo's Preface to Tengwang Pavilion or Fan Zhongyan's Records of Yueyang Tower are written in fine scripts, which can be regarded as the best paintings in the world. In the seventh year from Yuan Dynasty to Zhengzheng (1347), Yueyang Building was mapped. With hair embroidery Tengwang Pavilion, Yellow Crane Tower, fine as mosquito eyelashes, it is better than ghost workers. According to Mingyuan's works, there are two famous sites of Tang, Five Dynasties, Song and Yuan Dynasty in Tengwang Pavilion and Yueyang Lou Tu. The boundary paintings are delicate. The Tengwang Pavilion Fu and Yueyang Lou Ji are written in detail, just as the laughing words among flowers say: "If the mosquitoes are small, they are steep, they are beyond ghost work." Or it may be mistaken for hair embroidery, to be tested. Extracted from "Flower Jokes, Juntaiguan Left and Right Accounts".

Yueyang Lou Tu

"Yueyang Tower" page, Yuan, Xia Yong Painting, silk, ink, 24.4 cm in length, 26.2 cm in horizontal.

This picture has no author's knowledge. On the right, there are 23 lines in Fly Head Little Kaishu, Yueyang Tower Records. There is a side of "Ting Xiangjia Tu Ji" that collects and collects seal. The impression of "Wudi Li Zouxian's life is really appreciated" by Zhang Jun.

On Li Zuoxian's postscript in the Qing Dynasty: "Yueyang Lou Tu, delicate boundary paintings, the eaves of the flying pavilion, not in a mess, the characters in the building are well-informed, almost like ghost workers." Yueyang Lou Ji, written in regular script, is like a fly's head, mosquito's foot, which blinds Lou. I don't know how the author wrote it. These paintings and calligraphy are the stunts of the Song Dynasty. After Yuan and Ming Dynasties, they have become "Guangling San". Ancient and modern people are different, that is, art can be seen. Li Zuoxianshi." Jun: "Zhupeng" seal.

Yueyang Tower is located in Hunan Province today. It is said that it was the first parade platform where Lusu, a famous general of the Eastern Wu Dynasty, trained sailors during the Three Kingdoms Period. It is also famous for the famous Northern Song Dynasty writer Fan Zhongyan's Yueyang Tower Records. It is also known as the "Three Famous Buildings" in ancient China along with Teng Wang Pavilion and Huanghe Tower.

This picture is the same as the composition and technique of another Yueyang Tower Picture hidden in the Palace Museum. It is only a fan and a pamphlet. Its fine line drawing can be described as "fine as a mosquito's eyelash, and it is superior to the ghost worker". This technique of painting buildings with ink and white brush was so popular after the Yuan Dynasty that Li Zuoxian of the Qing Dynasty mistakenly believed that it was the work of the Song Dynasty.

Feng Le Lou Tu

"Feng Le Lou Tu" page, Yuan, Xia Yong Painting, silk, ink, vertical 25.8cm, horizontal 25.8cm.

This picture is nameless, one side of Jun's "Xia Ming Yuan Yin". On the opposite side, there are two collecting seals: "Liang Qingbiao Seal" and "Banana Forest".

The author uses the diagonal composition method to draw the Diangge landscape in ink and wash circles, with slim lines, smooth and lustrous backgrounds, open water surface and Yiyang Liu appropriately show that the building is in the south of the Yangtze River. The painter reproduced the whole and details of the grand building, with exquisite and extraordinary skills.

The composition of this painting is the same as the other boundary paintings of Xia Yong in the Palace Museum. The "Fengle Tower" that Xia Yong drew from has long been extinct. Xia Yong's extremely realistic painting style and the 31 lines of "Fengle Tower Records" written in the upper right with the title "Little as Ants" have undoubtedly become important historical materials for today's understanding of this pavilion which was once famous in Hangzhou in the Song Dynasty.