书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺

题跋资料:

主题:

主要主题：人物后妃 ；其他主题：人物仕女 ；其他主题：人物侍从（侍女、童仆） ；其他主题：走兽狗 ；其他主题：草虫蚊．蝇 ；其他主题：器用家俱（屏风） ；其他主题：器用饮食器 ；其他主题：器用乐器 

技法:

工笔 

参考资料:

收藏着录： 石渠宝笈续编（御书房），页1977 收藏着录： 故宫书画录（卷五），第三册，页32 收藏着录： 故宫书画图录，第一册，页45-46 收藏着录： 国宝的形成-书画菁华特展，页48-55、303 参考书目： 1.刘芳如，〈唐人宫乐图〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页48-49。2.〈唐人宫乐图〉，收入国立故宫博物院编辑委员会编，《界画特展图录》（台北：国立故宫博物院，1986年初版），页54。3.刘芳如，〈唐人宫乐图〉，收入刘芳如、张华芝主编，《群芳谱 — 女性的形象与才艺》（台北：国立故宫博物院，2003年初版一刷），页34-35。4.林莉娜，〈宫乐图〉，收入林柏亭主编，《国宝菁华 — 书画‧图书文献篇》（台北：国立故宫博物院，2006年12月），页192。5.刘芳如，〈唐人宫乐图〉，收入国立故宫博物院编辑委员会编，《仕女画之美》（台北：国立故宫博物院，1988年四月初版），页74。6.简松村，〈宫乐图〉，《故宫文物月刊》，第9期（1983年12月），页1。7.王耀庭，〈宫乐图〉，《故宫文物月刊》，第9期（1983年12月），页100-104。8.刘芳如，〈唐人宫乐图〉，《故宫文物月刊》，第100期（1991年7月），页69。9.刘芳如，〈唐人宫乐图〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页240。10.刘芳如，〈唐人宫乐图探微〉，《故宫文物月刊》，第345期（2011年12月），页102-113。 内容简介（中文）： 本幅无作者名款。画女乐十二人，十人围案而坐，中四人正吹奏笙、箫、古筝与琵琶诸乐器。侍立二人中，一人持拍相和，其馀众人坐听，壮至閒适。此图石渠宝笈原标名元人画，然审其人物体态丰腴，开脸留三白；发髻衣饰、设色、画法皆系晚唐作风。 内容简介（中文）： 本幅无作者名款。画后宫女眷十人环案而坐，中四人正吹奏胡笳、琵琶、古筝与笙助兴。侍立二人中，一女执拍相和，其馀众人坐听，状至閒适。图中席面壶门式大案腿下有托泥，形成箱形榻体，四边有錾花的铜包角，符合隋唐流行样式。仕女侧坐月牙凳子，是唐代新兴家具，长方凳面施锦缎坐垫，四足皆有华丽雕饰，腿间坠以彩穗。此图饮茶方法属煮茶法。将调好的茶汤盛入大撇中，再以长杓分茶，盛入茶碗供饮，适用于人多盛会时。桌面上另置有羽觞，茶酒可同时饮用，并配以茶果。 内容简介（中文）： 本幅画后宫女眷共十人，围坐在一张长方大桌的四周，有的饮茶，也有人正在行酒令；上方的四人，则是吹弹乐器，替这一场宴饮的人助兴。她们所持用的乐器，自右而左，分别为胡笳、琵琶、古筝与笙。站立的二名侍女当中，还有一人手拿拍板，敲打着节奏。虽然全画描写的是奏乐与饮茶、喝酒的场面，但每个人脸上漠然的神情，却又道尽了宫中日月长的无奈！画中仕女作元和（806－819）「时式妆」的打扮，并充分显示受杨贵妃（719－756）影响，以丰腴为尚的审美观。她们各箇体态浑圆，脸如满月，双眉作细细的八字型，开脸留「三白」，宽袖上衣，披帛斜倚，长裙高及胸部。前面四人，和侧弹琵琶的一人，梳的发型最是奇特，称作「堕马髻」。左方中央的一人，则头戴花冠，应是地位最高的一位。不过，无论宫嫔或侍女，每个人头顶都插着各式梳子，温庭筠（约813－866）曾有「小山重叠金明灭，鬓云欲度香腮雪」的诗句，形容的正是妇女头上的华丽饰物。画幅的格局短窄，原本很可能是一幅小型屏风画，后来才被改装成今日所见的挂轴形式。画面上并没有作者的签名，推测应出自受张萱（8世纪前半）、周昉（约730－800顷）风格影响的画家之手。 内容简介（英文）： This painting depicts ten women of the inner court as they sit around a long rectangular table enjoying wine and tea. The four at the top of the picture are playing musical instruments to create the mood for this party. The instruments include a Tartar pipe, pipa, zither, and sheng pipe. One of the attendant girls is also holding a clapper to keep the beat. Though the painting describes a scene of music and drinking, there seems to be sense of resignation on the faces of the women, as if this is just an ordinary day in the life of court women. The fashion for beauty among ladies during the Yüan-ho era (806-819) reflected the strong influence of Yang Kuei-fei (719-756), whose full form set a standard. The ladies here are shown with full figures, rounded faces, delicate eyebrows, white makeup, long-sleeved robes, draping silks, and high skirts. Four women along with the one playing the pipa all have their hair tied in an unusual manner known as a “drop-horse knot”. One of the women also wears a floral crown, signifying higher status. Both court ladies and female attendants are shown with their hair tied arranged with combs and pins, which was immortalized in the poetry of Wen T'ing-yün (ca. 813-866) as adorned “mountains” and “clouds”. This painting is rather short for a hanging scroll and may have originally been mounted as part of a small screen that was later remounted into the format we see today. There is no seal or signature of the artist on the work, but it appears to have come from the hand of an artist influenced by the styles of Chang Hsüan (first half of 8th c.) and Chou Fang (ca. 730-800). 内容简介（英文）： Twelve ladies of the court have gathered around a table to enjoy a relaxed "concert." Four musicians at the far end of the table are playing the flute, lute, zither, and panpipes to the rhythmic sound of clappers played by the woman standing to the left. Today, the painting is attributed to the late T'ang, since it exhibits certain features characteristic of the period. For example, the women are of plumpness requisite to contemporary standards of beauty, which also dictated the application of white facial powder on the forehead nose, and chin. The ladies' elaborately coiffed hair and their style of clothing, as well as the overall color scheme of the painting, also suggest that this is a late T'ang work. 网页展示说明 本幅描绘后宫女眷十人，围坐于长方大桌的四周，有的饮茶，也有人正在行酒令；上方四人分别吹弹胡笳（筚篥）、琵琶、古筝与笙，为宴饮诸人助兴。左方另有一站立的侍女，手握拍板，敲打着节奏。画上虽无作者名款，但人物体态丰腴，发髻衣饰的画法，亦皆符合唐代女性的审美风尚。由于幅面短窄，推测原本可能是中晚唐时期宫中使用的装饰屏风，后来才被改装成挂轴形式。(20110913) 网页展示说明 This painting depicts ten ladies of the women’s quarters from the inner palace. They are seated around the sides of a large rectangular table served with tea as someone is also drinking wine. The four figures at the top are playing a Tartar double-reed pipe, pipa, guqin zither, and reed pipe, bringing festivity to the figures enjoying their banquet. To the left is a female attendant holding a clapper that she uses to keep rhythm.Although the painting has no signature of the artist, the plump features of the figures along with the painting method for the hair and clothing all accord with the aesthetic fashions of Tang dynasty ladies. Considering the short height of the painting, it is surmised to have originally once been part of a decorative screen at the court in the middle to late Tang dynasty, later being remounted into the hanging scroll format seen here.(20110913)