《骊山避暑图》是清代袁江创作的一幅绢本青绿设色画，现藏于首都博物馆。全图以遥摄全景的构图法，展现了雄伟壮丽的宫阙建筑群落，宫苑中花木与奇石错落，渲染出枝繁叶茂的夏日景色。众多男女宫人往来其间，似是在准备排设仪仗迎接重要人物。建筑群后，远峰兀立，遥接云天，让人不自觉地眺望，顺延想象。

此画用了山水画常用的构图形式，以山水景致占领画面大部，构成视觉整体的基本轮廓。值得一提的是，作者将富丽堂皇的主殿，精心安排在了画面偏下的最佳视觉位置，使得观者不仅能在欣赏时很快捕捉到主体所在，而且能细看到殿堂的每一处细节。

且骊山并不临海，画家却在图中避暑宫前平添了一片波涛汹涌的海波，使人看去如同置身山巅，能将那云雾里的清凉感受一二。这也是画家以浪漫主义手法，为这写实的画幅注入了神话的色彩。

画家对山体的表现未过多地使用皴擦法，但在笔法精确而多样、墨色扎实而多变的基础上，同样显示出峰峦雄伟的气魄。作者以界画形式对殿宇楼台进行刻画，不仅能够有条不紊地处理好建筑物上所有线条之间的相互关系，使复杂的造型结构显得十分轻松自然，还能使单调的线条表现出不一样的质感，如石阶台沿的坚挺、扶栏立柱的圆润、屋脊殿宇的劲拙等等，使其各有各的神采气韵。

此图作于康熙四十一年(1702)，构图规模宏大，内容丰富，是袁江的代表作。画作只要以唐朝九成宫(位于陕西麟游县,原为隋代仁寿宫，唐太宗时重修作避暑之地，因山有九重故名)为题材，充分发挥了我国工笔山水画工整严谨、色彩鲜明、华贵典雅的特点。

此作品近年来是收藏中的一匹“黑马”。所以此藏品存世量极少，具有较高的收藏意义及交易价值。

Li Mountain Summer Scenery is a green and colored silk painting created by Yuan Jiang in the Qing Dynasty, which is now stored in the Capital Museum. The whole picture shows the magnificent building community in the palace with the composition method of remote panorama. The flowers, trees and strange stones in the palace are scattered at random, rendering the luxuriant summer scenery. A large number of men and women in the palace, it seems to be preparing to set up a guard of honor to meet important people. After the building complex, the far peak stands up in front of the sky, which makes people unconsciously overlook and postpone their imagination.

 

This painting uses the composition form commonly used in landscape painting, occupying the majority of the picture with landscape scenery, forming the basic outline of the overall vision. It is worth mentioning that the author carefully arranged the splendid main hall in the best visual position at the bottom of the picture, so that the audience can not only quickly capture the main body when appreciating, but also see every detail of the hall.

 

Besides, the Lishan Mountain does not face the sea, but the painter adds a sea wave in front of the Summer Palace in the picture, which makes people look like being on the mountain top, and can feel the cool feeling in the clouds. This is also the painter's romantic approach to this realistic painting into a mythological color.

 

Painter of the performance of the mountain does not use texturing brush method too much, but on the basis of accurate and diverse brushwork, solid and changeable ink color, also shows the majestic spirit of the mountains. The author to describe all of the house number crunchers in the form of jiehua through, can not only to methodically handle all buildings on the interrelation between the lines, make the modelling of complex structure is very relaxed and natural, still can make drab lines showed different quality, such as stone steps along the strength, helps column pillar of fruity, roof of the house of the strength mechanism and so on, each have each look artistically.

 

Made in the forty-first year of Kangxi (1702), this picture is a masterpiece of Yuan Jiang. As long as the painting is based on jiucheng Palace of the Tang Dynasty (located in Linyou County, Shaanxi province, it was originally renshou Palace in the Sui Dynasty and rebuilt as a summer resort during the Reign of Emperor Taizong of tang Dynasty, so it was named because of the nine heavy mountains), it gives full play to the neat and rigorous, bright colors, luxurious and elegant characteristics of Chinese meticulous landscape painting.

 

This work is a "dark horse" in the collection in recent years. So this collection is very few in the world, with high collection significance and transaction value.