石渠寶笈三編(延春閣),第四冊,頁1873&*故宮書畫錄(卷八),第四冊,頁42&*故宮書畫圖錄,第十八冊,頁377-380&*仇英(約一四九四–一五五二)字實父,江蘇太倉人,少時移居蘇州,學畫於周臣,由文徵明引介,先後在收藏家項元汴和長洲人陳官家作畫。項元汴之孫項聲表說他:「所覽宋元名畫千有餘矣,又得性天之授,餐霞吸露,無煙火氣習。」被譽為明四大家之一。 本幅設色畫山光水色,花木翳如,軒齋中兩人對坐,童子烹泉負卷伺立。板橋、軒齋、屏風、几案俱以界畫法畫成,線條之交組甚為嚴謹,卻兼有雅逸之韻味,意在院體畫與文人畫趣之間。此圖為吳人王獻臣拙政園居所作。 &*A Garden Dwelling Ch’iu Ying (1494-1552) Ming Dynasty (1368-1644) Depicted here is a scene from one of the most famous gardens in Soochow: the Garden of the Clumsy Official ("clumsy" being an expression of calculated humility) built in the mid sixteenth century by the official Wang Hsien-ch’en. Here two gentlemen sit facing one another in a small thatched garden dwelling, while two servants boil water for tea and another servant holding some scrolls waits outside the door. In the distance a band of haze half obscures the flowering trees in a landscape of mountain light and mist. In terms of brushwork, the wooden bridge and the thatched cottage and its furnishings are done in the ruled-line method. The painting’s elegance and fineness of execution place it midway between the studied polish of professional academy painters and the freer style of amateur literati painters. Ch’iu Ying, one of the "Four Masters of the Ming," lived in Soochow and studied under Chou Ch’en. At Wen Cheng-ming’s introduction he painted for the collector Ch’en Kuan of Ch’ang-chou and for Hsiang Yüan-pien. The latter’s grandson, Hsiang Sheng-piao, said of Ch’iu Ying that "he has seen over a thousand Sung and Yüan works. Naturally gifted, he 'subsists on mists and dew'" -- that is, he transcends the mundane world. &*1.王耀庭,〈明仇英園居圖王寵題〉,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86。 2.國立故宮博物院編輯委員會,〈明仇英畫園居圖〉,收入國立故宮博物院編輯委員會編,《界畫特展圖錄》(臺北:國立故宮博物院,1986年初版),頁62。 3.許郭璜,〈明仇英園居圖〉,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。 4.〈明仇英園居圖〉,收入國立故宮博物院編輯委員會編,《園林名畫特展圖錄》(臺北:國立故宮博物院,1987年十月初版),頁74。 5.江兆申,〈仇英園居圖 卷〉,收入國立故宮博物院編,《吳派畫九十年展》(臺北:國立故宮博物院,1975年初版,1976年再版,1981年三版),頁309。