石渠寶笈三編(御書房),第七冊,頁3066&*故宮書畫錄(卷八),第四冊,頁52&*故宮書畫圖錄,第十五冊,頁81-84&*蝶兒飛,蓮瓣兒落,宮苑皇子嬉戲樂。入浴盆,玩玩水,捉迷藏,躲貓貓,后妃宮女伴麟兒,深宮庭苑逍遙情。周昉(活動於八世紀末),擅於道釋仕女,初效張萱,後自成家。麟趾二字,即指宗室子弟。畫后妃居後殿,觀看孩童沐浴、嬉戲。兒童的天真活潑,點綴深宮生活輕鬆的一面。 &*Chou Fang, a native of the capital Ch'ang-an, excelled at figure painting, including Buddhist and Taoist subjects and especially palace ladies. At first, he followed the style of Chang Hsüan, but later he developed his own style. This painting is unsigned but traditionally has been attributed to Chou Fang. The painting depicts the women's quarters of the imperial household. Children, attended by ladies-in-waiting, are bathing and playing with lotuses or chasing butterflies in this luxurious palatial setting. Their innocent expressions are lively and endearing as the painting presents the viewer a glimpse of the more relaxed aspects of palace life. &*周景元應該即為周景玄,指的是唐代畫家周昉。麟趾二字,即指宗室子弟。全幅描寫后妃居後殿,觀看孩童沐浴、嬉戲等活動。此畫雖然在製作年代上無法上達唐代,但畫中人物的造型確為典型的「周家樣」,其中幫嬰兒沐浴及逗弄嬰兒等母題,還可以在其他傳為周昉的明中期以後畫作中看到。各個場景之間,雖有串場人物,但卻又各各獨立,此畫可視為當時畫坊流行之「周家樣」母題的組合之作。(20100710)&* Zhou Jingyuan is probably Zhou Jingxuan, another name for the famous Tang painter Zhou Fang. The literal translation of the title, “Qilin Tracks,” refers to children of the imperial clan. The work depicts the inner palace quarters of concubines, showing children being bathed or at play. Though the production date here cannot be traced back to the Tang, the figures are indeed in the “Zhou Master Style.” The motifs of infants being bathed and children at play can also be seen in other post-mid-Ming (1368-1644) paintings attributed to Zhou Fang. Although figures link scenes together, they are still quite independent. This work is likely a combination of motifs associated with the “Zhou Master Style” popular in commercial studios at the time.(20100710)&*1.劉芳如,〈唐周昉麟趾圖〉,收入劉芳如、葛婉章編,《嬰戲圖》(臺北:國立故宮博物院,1990年四月初版),頁80。 2.馬孟晶,〈明人麟趾圖(舊傳唐周昉)〉,收入劉芳如、張華芝主編,《群芳譜 — 女性的形象與才藝》(臺北:國立故宮博物院,2003年初版一刷),頁144。 3.劉芳如,〈著色鮮潤 體度如生 — 蘇漢臣嬰戲圖試析〉,《故宮文物月刊》,第85期(1990年4月),頁78-95。