故宮書畫錄（卷五），第三冊，352&*故宮書畫圖錄，第七冊，頁21-22&*傳說堯帝時的天空有十個太陽，以至大地乾旱，神射手后羿射下了九個太陽，於是天地回復生機，同時也贏得帝嚳之女嫦娥的垂青，下嫁予他。後來，后羿從西王母處求得長生不死藥，嫦娥偷吃靈藥後，身不由主飄飄然地飛往月宮，住在淒清冷漠的廣寒宮內，留給後世詩人與畫家在創作上無限想像的空間。唐寅（西元一四七○－一五二三年）字伯虎，號六如，江蘇吳縣人。天資聰明，性格瀟洒放蕩，為明代江南才子。&* Legend has it that 10 suns inhabited the sky during the reign of Emperor Yao, resulting in scorching heat and parched land. The divine archer Hou-i shot down 9 of them, bringing life back to the land while winning the esteem of Emperor K’u’s daughter, Ch’ang-o, who married him. Later, Hou-i got the elixir of immortality from Mother Goddess of the West. After Ch’ang-o stole a sip, her body suddenly became light as air as she was taken to the moon, where she lived in the cold, desolate Moon Palace. The story left much to the imagination of later poets and painters. T’ang Yin, style name Po-hu and sobriquet Liu-ju, was a native of Wu, Kiangsu. Of great talent, but also carefree dissipation, he was known as one of the Talents of Kiangnan. &*唐寅（西元一四七０至一五二三年）蘇州人，字伯虎，又字子畏，性疏朗，狂逸不羈。秉賦靈異，詩、書、文章、繪事無一不臻其妙。 設色畫嫦娥懷兔佇立，右上方桂樹與左上角圓月，暗示中秋時節，人間團圓的時候，嫦娥沈默睇視，似有所思的模樣。畫衣紋線條多方折，並在衣服褶曲處施以淡淡的花青和朱標。人物畫法皆屬唐寅一派作風。 &* T’ang Yin (tzu Po-hu, Tsu-wei) was a native of Suchou, Kiangsu. By nature distant and rustic, he lived without restrictions. He and his close companion Chang Ling would often play games and drink wine rather than concentrate on their work. However, T’ang Yin was brilliant and excelled in poetry and prose as well as in calligraphy and painting. He took first place in the provincial examination in 1498 and thereupon had carved a seal which read “First in Nanking”. This and another of his seals which read “First with Ladies in Kiangnan” seem to reflect two aspects of his character. After he was slandered during the national examinations, he turned to Buddhism and resided in the Peach Blossom Studio, calling himself Liu-ju-chü-shih. Ch’ang-o, a legendary female who stole the elixir of immortality and fled to the moon, stands motionless between a cassia tree and the full moon. She embraces a rabbit, her attribute or distinguishing symbol. Standing quietly, she has the appearance of one who is thinking. Her clothing has many squarish folds which are suggested by the use of very light green and red. Judging from the style of the figure, the painting should be attributed to that of T’ang Yin.