明人畫扇面 (乙) 冊 明人月下吹笛
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- 資料識別：
- 故畫003532N000000002
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 主題與關鍵字：
- 夜景（月景） 高士（士人、隱士） 篷舟 江河、湖海 樂器
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 19.5x53.5公分、全幅 33.6x58.8 公分
- 關聯：
- 故宮書畫錄（卷八），第四冊，頁164&* 本幅選自「明人畫扇面」冊。畫上未繫作者款印，據風格推定為仇英。 通幅構景至為單純，淺設色畫盛夏夜景，江上小舟隨波搖蕩，舟中人露胸坦臂，橫笛吹奏，一足探入水中，神情逍遙。水中映有月影，江面浩瀚，波光粼粼，襯著灑金的箋紙，備覺耀眼醒目。水波用筆，於率意中不失法度，人物亦精工不刻板，應屬仇英後期之作。 &*Playing the Flute Under the Moon Ch’iu Ying (ca. 1494-1552) Ming Dynasty This leaf is from the album “Fans Painted by Ming Artists.” Though not bearing the seal or signature of the artist, it is assigned to Ch’iu Ying on the basis of style. The simple composition shows a summer night scene done in light colors. A small boat sways freely on the waves of a river. A figure, with sleeves rolled up and robe opened, plays a horizontal flute with one leg dangling in the water, as if completely lost in abandonment. The reflection of the moon, the ripples on the water surface, and the gold-flecked paper create a glimmering effect. The brushwork of the waves is free yet controlled. Furthermore, the figure is fine but not stiff, indicating that this probably is a later work by Ch’iu Ying. &* 仇英（約一四九四至一五五二年），字實父，江蘇太倉人，後移居吳縣。曾從周臣學畫，善於摹古。 清江上小舟隨波搖盪，舟上人橫笛吹奏，衣衫已退卸，露胸袒臂，一腳探入水中，狀至逍遙。月影在水，借著灑金箋地的金點子，配上橫向曲線的波浪紋，倍覺波光粼粼，耀眼醒目。畫寫盛夏夜景，畫水波，筆於率意中不失法度，畫人物則精工而不刻板。一舟一人，上下綠影，水中月，江上波，畫面景象至為單純，但水光樹影，處處都足尋出避暑。筆墨固佳，而章法又以簡取勝，章法固佳，而意象更令人嚮往。 &*Playing the Flute Beneath the Moon Ch’iu Ying (ca. 1494-1552) Ming Dynasty Ch’iu Ying, style name Shih-fu, was a native of T’ai-ts’ang, Kiangsu Province, but later moved to Wu County. He studied painting with Chou Ch’en, and was skilled in imitating the works of the ancient masters. Upon a clear river, a small boat rocks and sways freely and gently on the wavelets. In the boat, a figure sits playing the horizontal flute. With his sleeves pushed up, robe open exposing his chest, and one leg dangling in the water, he seems to be completely lost in abandonment. The reflection of the moon glimmering on the water, the gold-flecked paper surface, and the rippling lines which represent the wavelets on the water, all combine into a shimmering portrayal that captures the florious image of an evening in the height of summer. Although the waves appear to have been rather freely and spontaneously depicted, they were not painted without the employment of skillful brush techniques. As well, the representations of the figures were executed with refined, exquisite workmanship, and are quite lively. &*1.許郭璜，〈明仇英月下吹笛〉，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98。 2.劉芳如，〈明仇英月下吹笛〉，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166-167。
- 管理權：
- 國立故宮博物院
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- 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
