李成认领

绢本，水墨设色，111.4*56厘米，美国纳尔逊-阿特金斯艺术博物馆藏。图上所画为冬日山谷景色，二处高峰耸立，挺拔险峻，一道瀑布从高处倾泻而下，与一道低瀑汇合成河。中景山丘上建有寺塔楼阁，宏伟优美，近处厅台楼阁数座，游客聚集，谈天说地，甚是惬意。李成，其传世作品有《读碑窠石图》

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.

绢本，水墨，画芯45.2*143.2厘米，辽宁省博物馆藏。图上描绘的为夏日景色，近处溪桥流水，轻舟泊岸，厅台楼阁，行人忙碌；远处山腰间瀑布飞泻，溪流潺潺，云气弥漫，宫殿密布。技法上不见笔痕，以擦染为主，山顶及树木偶用重墨点出。卷首有乾隆题词，画上又再题一次，可见他对此画的喜爱！

绢本水墨，画芯27.1*113.2厘米，辽宁省博物馆藏。图上树杆粗壮，但叶已落尽，应为深秋或隆冬，鸟儿们三五成群或地上觅食，或树枝上观望，叽叽喳喳，一起度过寒冬，地面的杂草上以及树枝上以白线勾勒，是否为没融化完的残雪？李成，字咸熙，五代宋初画家，喜画平远寒林，画法简练，好用淡墨，有“惜墨如金”之称。