五代後蜀丘文播文會圖 軸
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- 資料識別：
- 故畫000028N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 丘文播（Qiu Wenbo）
- 主題與關鍵字：
- 高士（士人、隱士） 侍從（侍女、童僕） 庭院 飲食器 文玩（琴棋書畫） 文房用具 傢俱（屏風）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 84.9x49.6公分、全幅 89公分
- 關聯：
- 故宮書畫錄（卷三），第五冊，頁31&*故宮書畫圖錄，第一冊，頁125-126&*1.王耀庭，〈（傳）五代後蜀丘文播文會圖〉，收入王耀庭主編，《傳移模寫》（臺北：國立故宮博物院，2007年初版），頁32。 &*丘文播（約活動於西元十世紀中期），擅畫佛道人物，此圖為高士夏日聚會情景。五代之後家具種類更趨豐富，箱形壺門床榻向寬大發展，使用場合較不固定，可在書齋、亭榭、庭院安設，為接待賓客與生活起居的重心。約在西元九世紀箱形平列壺門大榻有新的改進，框架結構打破邊框限制，下部蕊板消失，上部橫板雕成曲線紋，四角支柱豎直部份變成條板狀架於托泥上。床榻上另有一直方憑几，按古無桌椅，備几以為憑倚之用。此圖據丘文播稿本描摹，實際創作年代尚無定論。 &*Ch'iu Wen-po excelled at painting Buddhist and Taoist figures. This work represents a gathering of scholars on a summer day, and, although it appears to be a close copy of Ch'iu Wen-po's work, the period in which it was executed has yet to be determined. After the Five Dynasties (907-960), the variety of furniture increased. The large box-shaped platform with cusped openings, for example, became wider and could be used in numerous places, such as studios, pavilions, and halls. It could also serve as both the center of gatherings or everyday life. In approximately the ninth century, the platform with cusped openings underwent a major change. The construction of the underlying frame began to depart from the restraints of the upper surface border. The floral decor of the lower portion disappeared and the horizontal board above increasingly became curved. The corner posts also became integrated into the stabilizing stretcher base below. In this painting, a small resting table has been placed on the platform. Since large tables and chairs were not used in antiquity, this type of small armrest was developed to lean on while seated on platforms. &*天保七年（556），北齊文宣帝命樊遜與諸州郡十一位秀才、孝廉校定群書。唐宋時期，已有〈北齊勘書圖〉的流傳。本畫即取自〈勘書圖〉中段，畫四人坐胡床，或展卷閱讀，或持筆書寫，旁有男女侍者持几、捧茶隨侍。旁配樹石，增添園林之趣。本幅無作者款印，舊傳為丘文播之作，然當依稿描摹，何時所成？尚無定論。 丘文播（活動於10世紀中期），四川廣漢人。又名潛。初作釋道人物，兼繪山水。 (20110913)&* In 556, Emperor Xuandi of the Northern Qi ordered Fan Xun along with eleven Cultivated Talents and Nominated Candidates from various prefectures to collate and proofread a collection of books. Later in the Tang and Song dynasties, paintings by the title “Collating Books in the Northern Qi” were already in circulation. This painting derives from the middle section of “Collating Books,” depicting four figures sitting on a large daybed engaged in such activities as opening scrolls and reading or holding a brush and writing. To the side are male and female attendants holding small trays and tea ready to serve. Rock and tree motifs add to and complement the garden scenery. This work has neither seal nor signature of the artist but was attributed in the past to Qiu Wenbo. When it was done as a tracing based on the original remains unknown. Qiu Wenbo (also named Qian) was a native of Guanghan in Sichuan who first painted Buddhist and Taoist figures while also doing landscapes. (20110913)
- 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
