明仇英臨閻立本文姬歸漢圖 卷
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- 資料識別：
- 故畫001609N000000000
- 資料類型：
- 類型:繪畫、書法
- 型式:靜態圖像、文字
- 著作者：
- 仇英、周天球
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 畫幅一 27.2x51公分、書幅一 27.2x24公分、畫幅二 27.2x40公分、書幅二 27.2x24.1公分、畫幅三 27.2x40公分、書幅三 27.2x23.9公分、畫幅四 27.2x49.6公分、書幅四 27.2x24.1公分、畫幅五 27.2x46.3公分、書幅五 27.2x23.8公分、畫幅六 27.2x45.8公分、書幅六 27.2x23.5公分、畫幅七 27.2x44.5公分、書幅七 27.2x24公分、畫幅八 27.2x52.2公分、書幅八 27.2x23.8公分、畫幅九 27.2x45.8公分、書幅九 27.2x23.9公分、畫幅十 27.2x44公分、書幅十 27.2x22.4公分、畫幅十一 27.2x51.4公分、書幅十一 27.2x24公分、畫幅十二 27.2x53.5公分、書幅十二 27.2x23.8公分、畫幅十三 27.2x60.2公分、書幅十三 27.2x23.4公分、畫幅十四 27.2x75.6公分、書幅十四 27.2x24公分、畫幅十五 27.2x55.2公分、書幅十五 27.2x23.4公分、畫幅十六 27.2x58.6公分、書幅十六 27.2x24公分、畫幅十七 27.2x50.8公分、書幅十七 27.2x24公分、畫幅十八 27.2x49.3公分、書幅十八 27.2x23.3公分、引首 27x114公分
- 關聯：
- 故宮書畫圖錄，第十九冊，頁1-12&*故宮書畫錄（卷八），第四冊，頁43&*石渠寶笈三編（延春閣），第四冊，頁1869&*蔡文姬（西元一七七年生），名琰，東漢蔡邕的女兒。興平中（一九四）被匈奴所擄，在胡地生活了十二年，並育有兩子，後來被曹操贖歸。本卷畫十八幅，描寫蔡文姬歸漢的情節，每幅後又書寫著〈胡笳十八拍〉的詩文。雖然第一幅和最後一幅都有明四大家仇英（約一四九四－一五五二）的款印，可是全卷的人物造型呆滯，缺乏生趣，和仇英的畫風有相當大的差距，應是一件後人冒用他名字的作品。&* Ts’ai Wen-chi (b. 177 AD), the daughter of Ts’ai Yung, was captured in 194 by the Hsiung-nu tribe from the north. She lived among the nomads for 12 years, bearing two sons to a chieftain before being ransomed back to China by Ts’ao Ts’ao. This handscroll includes 18 paintings which describe scenes related to the story of Ts’ai Wen-chi and her return to China. Calligraphed after each painting is one of her “Eighteen Songs of a Nomad Flute”. Though the first and last work bear the seal and signature of Ch’iu Ying, one of the Four Masters of the Ming, the figures throughout appear static and lifeless. Differing somewhat from Ch’iu Ying’s accepted style, this scroll thus was probably done by a later painter using Ch’iu’s name. &*蔡文姬（西元一七七年生），名琰，東漢蔡邕的女兒。興平中（一九四）被匈奴所擄，在胡地生活了十二年，並育有兩子，後來被曹操贖歸。本卷畫十八幅，描寫蔡文姬歸漢的情節，每幅後又書寫〈胡笳十八拍〉文本。雖然第一幅和最後一幅都有明四大家仇英（約一四九四－一五五二）款印，然全卷人物造型較為簡單缺乏細節，此外背景山水透露出清正統派之影響，可能為清代的摹本。(20100710)&* Cai Wenji (Yan, b. 177 CE), the daughter of Cai Yong, was captured in 194 by the Xiongnu tribe from the north. She lived among the nomads for 12 years, bearing 2 sons to a chieftain before being ransomed back to China by Cao Cao. This handscroll includes 18 paintings that describe scenes related to the story of Cai Wenji and her return to China. Calligraphed after each painting is one of her “Eighteen Songs of a Nomad Flute.” Though the first and last works bear the seal and signature of Qiu Ying, one of the Four Masters of the Ming, the figures appear relatively simple and lacking in detail. The background landscape further reveals the influence of the Orthodox School in the Qing dynasty (1644-1911), suggesting that this is a Qing model.(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
