《临韦偃牧放图》卷，宋，李公麟作，绢本，水墨淡设色，纵46.2cm，横429.8cm。

　　这是一幅宋朝画家李公麟临摹唐朝画家韦偃的作品。画幅为长卷形式，从右自左展开。在高低不平的土坡和广阔的平原间，牧者驱赶着大群马匹蜂拥而来，马嘶人叫，热闹异常。画面中段以后，马群逐渐散开成组各自活动，有的低头觅食，有的追赶嬉闹，有的奔跑，有的就地翻滚，还有几匹马走向远处的小河去饮水。众多的马匹姿态各异，生动自然。放马的牧人，有的骑在马上，有的穿戴较为整齐，有的则敞胸露怀赤足，在树荫里休息的牧人为契丹族，其中似乎还有等级的差别。整个画面的构图，前半部拥塞、紧张，后半部疏散、松弛，富于节奏感。

　　全图共画了人一百四十余口、马一千二百多匹，可谓洋洋大观。

　　画中的马匹和人物均用墨线勾勒，线条挺拔有力，色泽较浓重，坡石墨色稍淡，略有皴擦，再用赭石色渲染，加强了画面的气氛。构图和笔墨的变化。使整个作品主次分明、生动活泼，避免了呆板、重复和混乱。如此庞大的构图，若没有长时间的经营和缜密的运思，即使是临摹，也是难以设想的。

　　李公麟的大部分绘画作品是画在纸上的，并不施色彩，“惟临摹古画，用绢素着色”（元·汤垕《画鉴》）。这件作品为临摹本，用绢素作画并施淡彩，与画史的记载完全吻合。唐朝画家韦偃已无可靠的作品存世，通过李公麟的这个摹本，也可以领略其绘画的风采。

 

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

 

"Linwei Yanmu Grazing Picture" Volume, Song Dynasty, Li Gonglin's work, silk, ink light color, vertical 46.2 cm, horizontal 429.8 cm.

This is a Song Dynasty painter Li Gonglin copying the works of Tang Dynasty painter Wei Yan. The picture is in the form of a long scroll, unfolding from right to left. Between the uneven slopes and the vast plains, the herdsmen drove horses in flocks, and the horses were hoarsing and noisy. After the middle part of the picture, the horses gradually dispersed into groups, some bowed their heads for food, some chased and frolicked, some ran, some tumbled on the spot, and some went to the distant river to drink. Many horses have different postures, vivid and natural. Some herdsmen are riding horses, some dress neatly, others are barefoot and open-minded. The herdsmen resting in the shade are the Khitan people, among which there seems to be a hierarchical difference. The composition of the whole picture is congested and tense in the first half, evacuated and relaxed in the second half, full of rhythm.

There are more than 140 people and more than 1200 horses in the whole picture, which is a magnificent view of the ocean.

The horses and characters in the painting are outlined with ink lines. The lines are straight and strong, the color is strong, the slope graphite color is slightly light, a little rubbed, and then the ochre color is used to render, which strengthens the atmosphere of the picture. Changes in composition and ink. It makes the whole work clear and lively, avoiding stiffness, repetition and confusion. Such a huge composition, if not for a long time management and careful thinking, even copying, is difficult to imagine.

Most of Li Gonglin's paintings are painted on paper, not in colour. He only imitates ancient paintings and colors them with silk (Yuan Tangbian's Picture Album). This work is a copy, painted with silk and lightly colored, which is completely consistent with the record of painting history. Wei Yan, a painter of the Tang Dynasty, has no reliable works. Through this copy of Li Gonglin, we can also appreciate the style of his paintings.