五代南唐周文矩仙姬文會圖 卷
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- 資料識別：
- 故畫001388N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 周文矩
- 主題與關鍵字：
- 仕女 奇石 侍從（侍女、童僕） 楊柳 芭蕉 蘭．蕙 牡丹 木蘭（辛夷） 鶴 宮殿 欄杆 傢俱（屏風） 飲食器 文玩（琴棋書畫） 香爐．火盆 竹 柏 梧桐 椿 海棠（木） 月季 玫瑰 薔薇 鴛鴦 籬笆、圍牆 花器 文房用具 如意 扇
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 宋英宗治平三年（1066）
- 格式：
- 本幅 41.5x361.7公分、隔水一 15.8公分、隔水二 15.8公分、拖尾 41.5x79.9公分
- 關聯：
- 石渠寶笈初編（重華宮），下冊，頁782&*故宮書畫錄（卷八），第四冊，頁30&*故宮書畫圖錄，第十五冊，頁113-116&*周文矩（西元十世紀），建康句容（今南京）人。仕後主李煜為翰林待詔，善繪冕服車器，尤工人物仕女。所作人物，線條率皆細勁曲折，圓潤流暢，間作顫動之勢，飄逸自若，能自成一家面目。至若綺羅仕女，雖近承唐代周昉，惟其纖細秀麗，益有過之。本卷繪春柳臨池，鴛鴦戲波，宮苑內，眾女仙群集文會。通幅皆重彩設色，女幵麗無倫。款繫治平三年，按南唐無此年號，當係後人偽署。&*Chou Wen-chü was a native of Chu-jüng in Kiangsu Province, and served the Southern T'ang ruler Li Yü as Painter-in-Attendance in the Hanlin Academy. He excelled at painting elaborate costumes, various types of vehicles and other implements, but was most famous for his paintings of women. He depicted them with delicate, twisting segmented lines of graceful fluidity that reflects the influence of Chou Fang, but are even finer and more lovely than his. Chou Wen-chü did not merely slavishly emulate the styles of previous masters, but created one of his own. Spring willows lean gracefully over a pond; mandarin ducks frolic in the wavelets; in the garden pavilion, immortal maidens have gathered foe a literary meeting. The colors chosen to describe the setting impart great charm and beauty to the activity. The signature must be a later forgery, as the year given does not match any in Southern T'ang chronology. &*本幅以青綠山水描繪宮苑內眾女仙群集文會。風格上與五代南唐畫家周文矩的關係薄弱。在結構上，先繪宮苑外，春柳臨池，鴛鴦戲波，然後才進入女仙世界的描寫，此種特意區別內外世界，並在構圖上安排一富有詩意的過渡之作法，令人想起明仇英〈漢宮春曉〉。的確畫中庭園、樹木等之描繪處處可見吳派遺緒，應為明代晚期蘇州作坊的擬古作品。款繫治平三年，按南唐無此年號，當係後人偽署。(20100710)&* In blue-and-green colors here is a literary gathering of ladies in the immortals’ palace. It is far removed stylistically from the Southern Tang artist Zhou Wenju. As for structure, on the right it first depicts scenery outside the palace gardens, where spring willows appear by a pond shore as mandarin ducks sport about the waves. We then enter the immortal ladies’ world. This distinction of inner and outer realms is an overly lyrical arrangement reminiscent of Qiu Ying’s “Spring Morning in the Han Palace.” In fact, the courtyard scenery and trees here reflect Wu School elements, making this likely by a late Ming (1368-1644) Suzhou commercial atelier. The date (Zhiping reign 3rd year) is also not of the Southern Tang, being faked with the signature.(20100710)
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
