明仇英漢宮春曉 卷
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- 資料識別：
- 故畫001038N000000000
- 資料類型：
- 繪畫
- 著作者：
- 仇英
- 主題與關鍵字：
- 春景
- 后妃
- 楊柳
- 臺閣
- 松
- 蝶蛾
- 如意
- 傢俱（屏風）
- 奇石
- 竹
- 鞦韆
- 宮殿
- 飲食器
- 孔雀
- 籬笆、圍牆
- 畫師
- 迴廊
- 鸚鵡
- 扇
- 亭
- 孩童
- 文玩（琴棋書畫）
- 花器
- 香爐．火盆
- 欄杆
- 鴛鴦
- 貓（貍奴）
- 池水
- 仕女
- 柏
- 庭院
- 軍士
- 耕織漁獵
- 侍從（侍女、童僕）
- 溪澗、湍泉
- 樂器
- 格式：
- 本幅 30.6x574.1公分
- 隔水一 30.6x11.5公分
- 隔水二 30.6x11.6 公分
- 關聯：
- 石渠寶笈初編（御書房），下冊，頁1055
- 故宮書畫錄（卷四），第二冊，頁183
- 故宮書畫圖錄，第十八冊，頁361-366
- 本幅以春日晨曦中的漢代宮廷為題，描繪後宮佳麗百態；其中，並包含畫師毛延壽為王昭君寫像的著名故實。通幅構景繁複，用筆清勁而賦色妍雅，林木奇石與華麗的宮闕穿插掩映，舖陳出宛如仙境般的瑰麗景象。除卻美女群像之外，復融入琴棋書畫、鑑古、蒔花等文人的休閒活動，誠為仇英歷史故事畫中的精彩力作。此畫係為項元汴所作，完成時間約在嘉靖廿一年（一五四二）以後。
- This work represents various activities in a Han dynasty (206 BC-AD 220) palace on a spring morning. Among them is the famous story of Mao Yen-shou painting the portrait of Wang Chao-chun. The intricate composition is rendered with crisp and strong brushwork and beautiful colors. The lavish palace scenes are punctuated by trees and decorative rocks, creating marvelous scenery similar to that of the immortals. In addition to the groups of beauties, leisure activities of the literati, such as the zither, chess, calligraphy, and painting as well as appreciating antiquities and planting folwers are shown. This masterpiece of historical narrative painting by ch'iu Ying was done for Hsiang Yuan-pien and completed after 1542.
- 仇英（約西元一四九四至一五五二年），江蘇太倉人。字實父，號十洲。初執事丹青（一說作漆工），周臣異而教之，後遂成名。所作有畫院之精能而饒士氣，為明四大家之一。漢宮春曉，蓋寫宮中嬪妃生活，借皇家園庭殿宇之盛，以騁其華縟藻麗之筆耳。所傳畫本甚多，有畫毛延壽為嬪妃寫照者，亦有不畫此景者，可知初無一定故事。仇英此卷，鉤勒秀勁而設色妍雅，實屬院藏同類題材中之最佳者。
- Spring Dawn in the Han Palace Ch’iu Ying (ca. 1494-1552)Ming Dynasty (1368-1644) Spring Dawn is a vivid portrayal of the lavish lifestyle of the Han dynasty (206 B.C.-A.D. 220) imperial harem, which was long a favorite theme of Chinese painters. Ch’iu Ying’s version is one of the most brilliantly accomplished of these and is the finest of such works in the museum. Unlike many other paintings of the Han seraglio this one depicts the semi-apocryphal court painter Mao Yen-shou, who is here shown painting portraits of the imperial consorts, which the emperor used to select from his many beauties. The woman now sitting for her portrait is possibly the legendary beauty Wang Chao-Chün, who failed to bribe the artist to create a lovlier-than-life resemblance. Her portrait was correspondingly unflattering, and she was neglected by the emperor. When she was eventually sent away from the court to wed a foreigner, the emperor finally saw how beautiful she was and regretted having dismissed her. The painter was executed. Ch’iu Ying, one of the "Four Masters of the Ming," was a native of T’ai-ts’ang, Kiangsu. Originally a painting artisan (by some accounts a lacquer artist), he studied under Chou Ch’en (fl. 1500-1535) and created paintings that combined the finish of the academy style with the spirit of literati painting.
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- 國立故宮博物院
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