明仇英美人春思圖 卷
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- 資料識別：
- 故畫001039N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 仇英
- 主題與關鍵字：
- 雲 神、仙
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 20.1x57.8公分、裱綾一 14.4公分、引首 20.1x53.2公分、裱綾二 14.4公分、隔水一 11.6公分、裱綾三 14.2公分、裱綾四 14公分、隔水二 11.5公分、裱綾五 13.3公分、拖尾 20.1x181.6公分、裱綾六 8.9公分
- 關聯：
- 石渠寶笈三編（延春閣），第四冊，頁1874-1876&*故宮書畫錄（卷四），第二冊，頁184-186&*故宮書畫圖錄，第十八冊，頁367-372&*1.許郭璜，〈明仇英美人春思〉，收入許郭璜編，《仇英作品展圖錄》（臺北：國立故宮博物院，1989年初版），頁96-97。 2.劉芳如，〈明仇英美人春思〉，收入國立故宮博物院編輯委員會編，《明中葉人物畫四家特展－杜菫、周臣、唐寅、仇英》（臺北：國立故宮博物院，2000年初版），頁165-166。 3.劉芳如，〈明仇英美人春思〉，收入國立故宮博物院編輯委員會編，《仕女畫之美》（臺北：國立故宮博物院，1988年四月初版），頁85。 4.石守謙，〈洛神賦圖：一個傳統的行塑與發展 〉，《國立臺灣大學美術史研究集刊》，第23期(2007)，頁51-80。 5.姜又文，〈再析Ellen Johnston Laing, "Erotic Themes and Romantic Heroines Depicted by Ch'iu Ying"一文中的《擣衣圖》及《美人春思圖》〉，《議藝份子》，第11期(2008年9月)，頁9-25。 &*此卷畫美人雲裾霞裳，獨立嫣然，亭亭雲水，渺無涯際。仕女衣紋，用筆略帶方折，雲水則較圓柔。雲以淡墨勾勒，水用螺青淡染。構圖雖簡，取意精謹。畫中人，應即為曹植〈洛神賦〉中的洛水之神。賦文中，描寫女神體態之美，如「穠纖得衷，修短合度。肩若削成，腰如約素。凌波微步，羅襪生塵」等句，向來膾炙人口，傳為妙筆。仇英此卷，確已為千載奇文，作了絕佳詮釋。&*Beauty Lost in the Thought of Spring Ch’iu Ying (ca. 1494-1552) Ming Dynasty This handscroll shows a beauty standing above an expanse of billowing clouds and waves with her robes and sashes floating in the wind. The brushwork of the drapery is slightly angular, but that of the clouds and waves is softer. The clouds are outlined in light ink and the water with washes of greyish-green. The composition is simple yet refined. This figure is probably the Nymph of the Lo River. Immortalized in the famous prose poem by Ts’ao Chih, she is described as a “winsome and graceful” beauty with “slender shoulders and waist walking lightly on the waves in unsullied silk.” Attracting the attention of artists through the ages, this scroll by Ch’iu Ying provides the perfect illustration of this legendary beauty. &* 仇英（約西元一四九四－一五五二年），江蘇太倉人。字實父，號十洲。初執事丹青（一說為漆工），周臣異而教之，後遂成名。畫工山水、人物、兼善鳥獸、花卉，所作有院畫之精能而饒士氣，為明四大家之一。 畫美人雲裾霞裳，獨立嫣然，亭亭雲水，渺無涯際。畫仕女衣紋用筆略帶方折，雲水則為圓柔。雲以淡墨勾勒，水用螺青淡染。構景雖簡，取意精謹。蓋此卷所繪或即為洛神。正所謂凌波微步，羅襪生塵也。 &*Beauty Lost in the Thought of Spring Ch’iu Ying (ca. 1494-1552) Ming Dynasty Ch’iu Ying (style name Shih-fu and sobriquet Shih-chou), one of the Four Masters of the Ming, was a native of T’ai-ts’ang, Kiangsu. Originally an artisan (a lacquer craftsman by some accounts), he studied under Chou Ch’en (fl. 1500-1535) and created paintings that combined the finished quality of the academy style with the spirit of literati painting. He was especially noted for his paintings of landscapes, figures, animals, and birds-and-flowers. In this painting, the lone figure of a beautiful lady stands above an endless expanse of billowing clouds and waves. A captivating smile crosses her face as she steps ever so slightly forward with her robes and sashes floating in the wind. Some have suggested that she is the legendary Nymph of the Lo River described in the prose poem of the same name by Ts’ao Chih. In terms of technique, Ch’iu Ying has created a simple yet intriguing composition. The angular strokes of the woman’s robes contrast with the rolling softness of the mists and waves. The clouds are outlined in pale ink, while the waters below are limned in strokes of greyish green.
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- 國立故宮博物院
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