石渠寶笈續編(養心殿),第二冊,頁929&故宮書畫錄(卷五),第三冊,頁65&故宮書畫圖錄,第一冊,頁297-298& 宋徽宗(西元一0八二─一一三五年),姓趙名佶,性好書畫,秉賦極高。山水花鳥人物莫不筆墨挺秀,雅韻宜人,書號瘦金體,筆勢勁逸。 畫園池岸邊,竹樹掩映,中設大案,坐飲者八人,一人立執檀板,二人樹下立談,侍者九人,皆神情雅俊,衣褶挺勁生動。竹樹俱用雙鉤,筆筆細勁,如鋼針鑴鐵,必盡全力。通幅筆跡繁細,千絲萬縷,而無一懈筆,蓋極精妙之能事矣。 & 宋徽宗(西元1082-1135年),姓趙名佶,性好書畫,秉賦極高。山水花鳥人物莫不筆墨挺秀,雅韻宜人。 本幅描繪池邊大樹下,一群文士正據案飲宴。前方有僮僕在一小桌上備茶,其中一人手持長柄匙自茶罐舀取茶末,沿用的是唐末以來盛行的「點茶法」。人物皆神情雅俊,衣褶挺勁生動。竹樹俱用雙鈎,筆筆細勁,如鋼針鑴鐵,必盡全力。通幅筆跡繁細,千絲萬縷,而無一懈筆,蓋極精妙之能事矣。 此畫庭台器具描繪得極為華美,有別於五代時文會圖簡單的背景,北宋的文會圖係置於完備的花園場景之中,由此也反映出北宋園林的發達。此圖右上雖有徽宗題詩,左中有他的畫押,左上另有蔡京題詩,但俱屬可疑,應是畫院中名手之作。 &This work represents scholars gathered for a feast at a table under large trees by a pond. In front are servants at a small table preparing tea; one of them holds a long-handled spoon and scoops ground tea leaves in the custom of tea drinking popular since the T’ang dynasty(618-907). The modeling of gentlemen’s expressions and the rendering of their garments are quite convincing. The bamboo and trees were painted using the double outline method (shuang-kou). Each stroke was carefully brushed with surety and strength, like strands of iron. The setting here is extravagant, differing from the simplicity of literary gatherings in the Five Dynasties. In the Northern Sung, garden settings sere elaborate, reflecting developments at the time. Although Emperor Hui-tsung’s poem is in the upper right(with his signature at the left) and an inscription by prime minister Ts’ai Ching in the upper left, they appear dubious. Yet, it still appears to have been done by a famous court painter.