石渠寶笈續編(養心殿),第二冊,頁961 &故宮書畫錄(卷五),第三冊,頁107 &故宮書畫圖錄,第二冊,頁213-214&陳居中,嘉泰間(西元1201-1204)畫院待詔。工畫人物,亦擅蕃族人馬。宋元載籍關陳氏之資料極少,至明清時見其作品流傳之記載,而以蕃馬題材居多。元柯九思推許陳氏之作,不亞於宣和蕃馬名家黃宗道。 本幅無名款,據【石渠寶笈續篇】訂作者為陳居中。內容描寫東漢才女蔡琰辭胡歸漢之故實。蔡琰為東漢蔡邕之女,字文姬,博學多才,妙通音律。嫁河東衛仲道,夫亡無子。興平亂中為胡騎所獲,嫁與南匈奴左賢王,居十二年,生二子。曹操素與邕善,乃遣使以金璧贖回,重嫁同郡董祀。幅中寫辭胡歸漢之景,悲喜交織,至為感人。宋室南渡,曾數度遣使至金,研商迎徽宗后妃事,文姬歸漢圖於南宋畫院,曾風行一時,應屬畫家思欲「托古喻今」的具體反映。本圖人物衣冠,馬匹裝具,以及畫風皆與李唐文姫歸漢圖近似,畫馬亦如董逌所謂犁鼻裂耳。&Ch'en Chü-chung was an Attendant of the Painting Academy in the Chia-tai era (1201--1204) who specialized in portraying figures and Mongolian horses. K'o Chiu-ssu, a Yüan painter, praised Ch'en's works as being as fine as those of Huang Ts'ung-tao, a well known horse painter in the Hsün-ho painting Academy. Especially during the Ming period(1368-1644), Ch'en Chü-chung was praised for his speciality, depicting Nomadic tribesmen and horses. This picture illustrates a part of a famous story of Wen-chi, who was the daughter of Ts'ai Yung, a great scholar of the later Han dynasty(206B.C.-8A.D.). Wen-chi was a talented, well-educated woman gifted in music. She was abducted by t he northern Hsiung-nu tribes and married to a chieftain. During her twelve years there, she bore him two sons. She was eventually ransomed by the Han general Ts'ao Ts'ao. This scroll is a depiction of a farewell scene in which she is both saddened by leaving her sons and joyous at returning to China. This picture is remarkable for its vivid portrayal of men and animals. The clipped ears and gouged noses are a characteristic detail of Normdic treatment toward their ponies. The painting style is similar to a painting of the same story attributed to Li T'ang, the great painter of the Sung Painting Academy.&陳居中,寧宗嘉泰間(西元一二0一─一二0四年)畫院待詔。宋元載籍之陳氏資料極少,至明則時見其作品流傳之記載,而以蕃馬題材居多。 此繪蔡琰歸漢故事。蔡琰,東漢蔡邕之女,字文姬,博學多才,妙通音律。嫁河東衛仲道,夫亡無子。興平亂中為胡騎所獲,嫁與南匈奴左賢王,居十二年,生二子。曹操素與邕善,乃遣使以金璧贖回,重嫁同郡董祀。幅中寫辭胡歸漢之景,悲喜交織,至為感人。