石渠寶笈三編(乾清宮),頁496 &*故宮書畫錄(卷五),第三冊,頁80 &*故宮書畫圖錄,第二冊,頁71-72&*1.劉芳如,〈宋蘇漢臣畫五瑞圖〉,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81。 2.〈傳宋蘇漢臣五瑞圖〉,收入陳階晉、賴毓芝主編,《追索浙派》(臺北:國立故宮博物院,2008年初版一刷),頁178-179。 3.吳文彬,〈「五瑞圖」試析〉,《故宮文物月刊》,第139期(1994年10月),頁96-101。 &*本幅畫竹院芍藥,五童子聚戲行大儺舞,或塗面,或戴面具,或播鼓,耳挂環,手川釧,繡袴文襠。案大儺原為古代之驅邪習俗,後演變而為一種民間娛樂活動。畫無款印,舊傳蘇漢臣畫五瑞圖。 蘇漢臣(約西元12世紀),河南開封人。曾任宣和畫院待詔。北宋亡於金陵,南宋紹興年間又進畫院復職。師劉宗古,工畫道釋,人物臻妙,尤善嬰孩。&*Su Han-ch'en was a native of K'ai-feng, Honan. He was employed as a Painter-in Attendance at the Painting Academy during the Hsüan-ho reign of the Northern Sung. After the Northern Sung fell to the Chin, he fled south and was re-employed in his old position at the Southern Sung court during the Shao-hsing reign (1131-1162). Su Han-ch'en studied with Liu Tsung-ku. He excelled as a figure painter, especially of religious subjects and children. In a bamboo garden filled with peony flowers, five children gather to dance. Some are made up, some wear masks, some beat drums. They wear earrings and bracelets and embroidered pants. The original label of this unsigned painting gives it the title The Five Blessings. This scene may depict the traditional practice of expelling evil spirits through a dance performed by children, which was gradually transformed into an entertaining folk activity.