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并且，尽管将书法与绘画结合，他不是历史上的第一人，远在他之前陆探微、吴道子等人都己作过尝试，但将书法引入画学学习科目，他确是前无古人的开创者。将书法引入绘画则是直接开启元人在文人画特色道路的一种创举，这对原来院体画家基本不善于书法的过去及现状来说无疑是一种振聋发聩的改革。

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池塘秋晚图 纸本水墨 33cmx237.6cm 台北故宫院藏

卷首画红蓼蒲草迎风摇曳，荷梗支着莲蓬挺生于水中，白鹭一只叉开双足而挺立，衬以枯荷败叶，卷末水鸟一翔一浮嬉游追逐，呈现出水边沙外的潇洒之趣。此图布局平列而疏散，笔墨朴拙灵秀。白鹭用淡墨勾出，与深墨画成之荷叶相衬托，回首望飞翔之水禽，神情生动。枯败之荷叶用干笔皴涂，勾勒叶筋，力求表现出荷叶临风翻卷之态，似信手写出，颇有一些文人画的特色。托名在赵佶名下，但笔墨风格和其他作品迥然不同，徐邦达先生认为粗笔写意花鸟画，如较符合徽宗的笔情墨意，为徽宗真迹。

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是的，脖子那里画错了，洗掉重新画了

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徐建融《宋代名画藻鉴》有一段论述十分精辟：“宋代画坛，宫廷画院的建制和文人画思潮的沛起是中国绘画史上前所未有的两大景观。他们相互交流，相为辉映。前者直接导致了宫廷绘画的创作达于鼎盛，代表着以职业画工为基本创作力量的传统工笔画的最高水平后者则正式揭起了以文人士夫为创作主体的写意画的大纛，为元代以后中国画主流的发展开导了先河。”

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柳鸦芦雁图 纸本水墨 34cmx223cm 上海博物馆藏

开卷画古柳一株，枝头及树下栖止白头鸦四只。粗壮的老干、低拂的柳枝及不同情状的乌鸦互相穿插，有动有静，颇得状物之妙，墨色光润匀净，浓淡相宜。另一端画大雁三只止于水畔河岸，俯仰情势生动自然，芦荻纯用双勾，蓼花梗茎以没骨画出，细笔勾画叶筋，禽鸟之羽毛每片均细致勾染。与《池塘秋晚图》相比，此图画风较为细腻生拙，章法亦少许严谨。画上赵佶“天下一人”画押出现位置古怪，画正中有接口，左右两段画风迥异，疑是右边为赵佶作品，左边为他人画作，两幅被后人拼接成一卷。

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到了宋徽宗时这一分别就愈加鲜明。北宋末年赵佶领导下的院体画虽然画风细密，但却含蓄优雅，已经带有明显的文人气息，不复宋初黄家富贵的板滞。苏轼、黄庭坚、米芾等人那种只在部分士夫中宣扬的文人画观念，在宋徽宗的默许或更富有创造性地改造利用下，在画院中已经变成了许多可行的措施。

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赵佶 写生珍禽图 纸本水墨 27.50x521.50cm 上海龙美术馆藏

卷系将墨笔花鸟小品十二幅裱为一卷，接缝处钤有宣和、政和等玺印，笔调朴质简逸，全用水墨，对景写生，无论禽鸟、花草均形神兼备。造型用笔与前两幅相较似更为灵秀，鸟之羽毛已采用撕毛手法，真实而颇富质感，其中戴胜鸟立于花枝中，花叶双勾，染以淡墨，用笔甚为潇洒随意，已开元明写意花鸟画风之先河。以焦墨画竹，竹枝细挺，枝叶交插处皆留一白道以表现前后关系，此种画法前所未见。徐邦达通过绘画风格的研究从而确定《写生珍禽图卷》的作者为赵佶。此前他曾认为这是伪作，是因为“天下一人”这个款写的不好，还有印也不对，但是后来经过一年的考察和反复思考，得出结论是这件是宋徽宗十九岁时画的，那时赵佶尚未即位，所以不能用天下一人的章，落款也差一点，所以这件作品是真的。他撰写的《宋徽宗赵佶亲笔画与代笔画的考辨》一文对此作了专门的考证：“一些粗简画如墨笔写生的《珍禽图》《四禽图》，以及淡设色的《柳鸦图》《竹禽图》等等，应该是亲笔作品。”又“《写生珍禽图》卷及《四禽图》卷，其用笔比《竹禽图》等苍逸流动些，但还有相通的地方。很有可能是他较晚期的亲笔作品。

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宋徽宗之前，宋王朝的统治者对画院会有些许重视，但就总体与五代相比，无论建制还是优惠政策，都没有太大的改观。到宋徽宗时代，才有了改天换地般的飞升，画学取代画院成为宫廷绘画最引人注目的关注对象，它的以诗句为题的招考模式、课程安排、导师组的设置及具体人员的任命，都成为画家们关注的焦点。此时的画家甚至享受“许服绯紫官服”的待遇，更准许其配五品以上官员才有资格的“佩鱼袋”上班。画学遂成为提高画院画家素质，改变宫廷绘画风貌、超越前代绘画成就，形成影响巨大的宣和体以并为南宋画院复兴培养贮备了大量人才的机构。

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佩鱼袋

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宣和画院薪资待遇，看了真是心动，生错了时代啊

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赵佶 腊梅山禽图 绢本设色 82.8cmx52.8cm 台北故宫藏

此幅可能就是《宋中兴馆阁储藏图画记》中徽宗八扇屏之一的《香梅山白头图》，一枝疏梅、两只寒禽，图作构造出清冷恬淡之景，意旨幽远。画家笔墨细致。萱草、梅树、花朵的轮廓，都用工细线条勾勒。花朵则施以明艳的黄色，是典型的院体工笔。兼具诗情画意，构图简洁，设计Ｓ型弧线，在写生之外，又著意营造具造型美感和冬日清疏气氛的理想境界。左下是题画诗：“山禽矝逸志，梅粉弄轻柔。已有丹青约，千秋指白头。”

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赵佶 御鹰图 美国私人藏

赵佶此《御鹰图》画上有蔡京长跋，现已流失海外私人收藏。影像、资料凤毛麟角。解放前于非闇曾临摹过两幅《御鹰图》原作，谢稚柳在《唐五代宋元名画》中评价：《御鹰图》论它的艺术描绘，双勾谨细，毛羽洒然，形体生动而自然。鹰眼的神姿，尤为英发，显示着一种威猛之气。而艺术的格调，却是清新文雅，绝去了粗犷率野的情味。尽管双勾是历来的表现形式，而这种新颖的画风，是形神兼备的高妙写生，与崔白显示了一定的距离了。此图纪年为政和甲午，为政和四年，是时赵佶之年为三十三岁，是中期之笔了。

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赵佶 六鹤图 日本私人藏

严格来说，宋徽宗力主的画学文人化与苏轼、米芾等人提倡的文人画本质上全然不一，宋徽宗的据诗入画，画中有外在形式上的诗意，而画本身却在向着极致写实的院体铿锵迈进，本质上是诗和画的最大限度的叠加复合，是在做加法。苏米等人则意在画中的文人意趣，笔墨性情，画的形式可以是形似的，也可以是写意的，但都幻化成文人意趣的抒写的载体和归一，本质上是往更哲学化更形而上的方向走，是在做减法。在文人画家们看来，格调韵味境界风神远比形似、工巧重要得多，才是灵魂般的追求。

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鸲鹆图 纸本水墨 88.2cm×52cm 南京博物院藏

《鸲鹆图》写古木奇松之姿，鸲鹆相斗之趣。鸲（qú）鹆（yù）就是“八哥”，性好斗。图中三只八哥，两只正在激烈相斗，一只在一旁起哄。激斗正酣，博杀惨烈，飞羽横尘。此图描绘精微，尽得性情，姿态变化，栩栩如生，但与赵佶其他水墨作品相比仍显稚巧，松针太过尖厉，恐为明人手笔。

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竹鸡图 绢本设色 44cmx90cm 画得非常好，不过是伪作

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在他的绘画思想中无以复加的极致追求，如“孔雀升墩”、“春时日中月季”这些美术史上尽人皆知的掌故，说明他对训练画家们对花鸟物理特征敏锐过人的观察能力，对画家的格物能力、写实水平标准之高，可能自古至今少有比肩者。正因为他有如此苛刻的要求，才造就了色色皆备的宣和体，对国画写实主义巅峰起到了他人难以取代的作用。如韩若拙每画一只鸟从嘴到尾每一部分都能说道个一二三来，每一片羽毛都有令人发指的编号。但是在纵向对比隋唐五代两宋的绘画史，不难发现其实在五代时花鸟画或者人物画的写实程度已臻巅峰，相比下，宣和画院中的各种写实是更加普及和系统化、理论化。只是国画再往后的发展逐渐偏向山水一科，花鸟画在宋徽宗出场前已显疲态，在北宋初期的画院中已是陈陈相因止步不前了。而宋徽宗的种种作为，一方面是强力挑起了中国画写实的又一次和最大化的巅峰，而又给了中国画文人化作了充分的缓冲准备和宝贵的二次发育，不至于让苏黄米等几个文人自顾自势单力薄地自嗨，更不至于让纯粹的墨戏更快的到来。

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唐十八学士图卷 绢本设色 29.4cm×519cm 台北故宫藏

《唐十八学士图》是托名赵佶所作的一幅画，卷末题签御笔天下一人，款为赵佶的瘦金体，画面内容非赵佶手笔。十八学士是一个传统的历史故事题材。据《旧唐书·褚亮传》记载，李世民于宫城开文学馆，罗致四方文士，有大行台司勋郎中杜如海、房玄龄、于志宁、苏世长、薛收、褚亮、孔颖达、姚思宁、陆德明、李道玄、李守素、虞世南、蔡允恭、颜相时、许敬宗、薛元敬、盖文达、苏醨为十八学士，后薛收死，补刘孝孙。亲命阎立本图其状貌，题其名字、爵里，乃命褚亮为之像赞，号《十八学士真图》。藏之内府，以彰礼贤之重地。画面为典型的文人酬应，内容包括游园、赋诗、奏乐、宴饮，戏马、观鹤，气氛热闹欢愉。画面宏阔的场景，丰富、生动的人物姿态，画面人物、亭台、器物、笔致细腻，树石、溪山典丽妍雅。众会均备以茶酒、珍馑，士人在溪亭、花石、松竹丛中，品茗酒食、赏景。仆役分备茶酒，方桌腿四面有枨，下有牙条、牙头为饰。桌上置茶具，旁竹编茶笼内摆茶托。

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文会图 设色绢本 184.4cmx123.9cm 台北故宫藏

《文会图》中的场景，人物、器物与《唐十八学士图》中的一段是完全相同。自是明人抄袭自《唐十八学士图》，但不是重新创作，因画上又抄上了赵佶的诗和蔡京的跋文，想托赵佶的名继续鱼目混珠，书法拙劣不堪，但画还是非常不错的。

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桌前聚餐的众人与《唐十八学士图》中的众人一模一样 ，直接抄来无疑

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唐十八学士图局部

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没错，也是抄的

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唐十八学士图局部

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儒林华国古今同，吟咏飞毫醒醉中。

多士作新知入彀，画图犹喜见文雄。

诗文内容与《唐十八学士图》中赵佶的题诗一样，书法拙劣不堪

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唐十八学士图中赵佶的题跋

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臣京谨依韵和进。明时不与有唐同，八表人归大道中。可笑当年十八士，经纶谁是出群雄？蔡京是大宋臣子，这里莫名其妙用明时二字，真是想破我的脑袋瓜也想不明白，此画是明朝画手抄袭而来，又想舔一下明朝圣上以进此图矣。

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这种形似上地狱般的极致，与画中诗意的表达，内核又渴望去画工化，向文人化的矛盾操作，实在有点难以调和与强制执行。毕竟宋徽宗是一个文士，是一个充满诗情画意的帝王艺术家，自然不会忍受在艺术上的循规蹈矩，如李成都羞于与画史为伍，做为九乘之尊的帝王岂能甘于众工之事。做为画家他当然会重视形似，但他对绘事的要求不仅仅是超越古今的形似，故而在他直接带领下的宣和画院不会仅仅停留在形似上。而且使宣和体凸现出与以前所有院体不同的一个特色——富有诗的意境与韵致，在保证“绝似”的同时还要“戒凡近”，要讲究“诗画相通”，要能“意高韵古”，要能见出“高世绝人之风”的高逼格。否则，只能被他无情地“黜为下等”。为此他益兴画学，而且还大刀阔斧地改革了画院，把建设文人特色的写实主义院画画风做为基本国策坚持一百年不动摇，固然就在这种制度上保证了文人化在画院建设中的作用。

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明皇训子图 绢本设色 30.8cm×147.5cm 北京长风2010春拍作品

托名赵佶作品，伪作无疑。卷后有赵孟頫跋文，也是假的。最好的情况是，赵佶确实有这么一张画，此图是临摹的作品，包括赵孟頫的跋文都一并临摹下来，原作已散失。

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啤酒肚的唐明皇床上放着个超大号的火腿继续吃？

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而其美学思想的宣言《宣和画谱》，通篇推崇文人，贬低画工、画史。通过对“诗意”、“文人思致”理论支持凸现了文人画的价值，通过对文人画意趣的激赏，昭示出了其审美立场上的文人画倾向。使他无意中成为宣和体的缔造者，而且也是文人画风形成进程中的一个重要的推动力量。

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赵佶 枇杷山鸟图 绢本墨笔 22.6cm×24.5cm 北京故宫藏

图绘枇杷两枝，结实累累，一只小鸟停栖于枝上，从枝叶空隙中注视一只正在飞舞的凤蝶。此幅画风极为写实，树叶被虫蚀咬及充满水分的果实都画得相当逼真，叶片及果实纯以水墨勾染而成，略似没骨画效果，格调高雅，别具一种苍劲细腻之韵致，但此图已不完整，系经过裁剪改装，款押“天下一人”。钤“御书”朱文葫芦形印一方。

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梅花绣眼图 绢本设色 24.5cm×24.8cm 北京故宫藏 伪作

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戴胜图 55cmx59cm 伪作

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拂彩山禽图 绢本设色 40cmxcm 瘦金体是真迹，有天下一人的画押，至少是宣和画院作品

虽然在政治上把大宋江山败得一塌糊涂，但宋徽宗在中国绘画史上可算是最有作为的皇帝。他将院体画推向东方写实主义的高峰，他以身居九重之尊所具有的巨大能量，以他极富文人气息的审美指向为依归，在院体画向文人画转型，以及对文人画思潮的铺开作了神一般的助攻，发挥任何人无法替代的特殊作用。

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桃鸠图绢本着色 28.5cm×27cm 日本东京国立博物馆藏 画是好画，就是伪作

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花鸟图 41cmx40cm 伪作

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梅雀图 23cm×24cm 伪作

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以下三幅陈紫荔子绣香囊图页同名异画，三流水准，皆是萎作

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http://5b0988e595225.cdn.sohucs.com/images/20190607/fd6e3f0783af4e43a872e6ba1f8104ec.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/556d21a1c3624703ab36bd62163ef3d8.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/26eabd09e26c42bcba90b652ae6f4f41.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/2701a9f9fd0645b49bf9feb7ffa5b2a8.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/8976272d15b945f48e68f32a8b350126.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/121a5df88146464282c952809975940d.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/a20887892ff04206a9e494a6612fb05e.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/a62b4570d666466b8b0e38e06d93ea84.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/8eeebe04cf2a4a18b2555fcbba0d89f5.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/1ab6bd77bb624c64b501b71aa0e90e51.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/c2f5dceb5f0a4f5a95a3bd01a561d1bc.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/506eca2231dc4a9993bda1d502df108e.jpeg

童戏图 25.6cmx25cm 萎作

http://5b0988e595225.cdn.sohucs.com/images/20190607/474e1f3e45234d96aabd7c86e68397d5.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/b7c2bfb8ce1f47539b3ac00902aaad55.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/f506142cc5e64ed38404e36457668de6.jpeg

http://5b0988e595225.cdn.sohucs.com/images/20190607/50d41dac0c7946d0b0f964eff69bc169.jpeg

赵佶的牙？

及至南宋，院体画没有走衰，而且还延续了院体画创作最后的辉煌，但南宋院体画的主脉是山水画，己经开始逐渐背离院体画以写实为其终极追求的写实传统，无论是边角式的构图，还是简括的大斧劈挥写模式，较之北宋山水，主观之意日益凸现。然后再由元代画家的努力，终使文人画取代院体画成为中国绘画堂正的主脉，而院体画日渐式微，后虽有余波微澜，但像两宋那样孤峰四绝式的辉煌已经一去不复返。