书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：唐寅；题跋位置：本幅；款识：善和坊里李端端。信是能行白牡丹。花月扬州金满市。佳人价反属穷酸。唐寅。；书体：行书；全文： 印记：唐伯虎、六如居士

主题:

主要主题：经史‧故事 唐李瑞瑞与吴楚狂士崔涯（或张祐）主要主题：人物高士（士人、隐士） 主要主题：人物仕女 主要主题：器用家俱（屏风）榻、屏风主要主题：器用服饰（对人） ；次要主题：人物侍从（侍女、童仆）侍女；次要主题：山水奇石 ；次要主题：树木寒林．枯树枯树；次要主题：花草牡丹 ；次要主题：器用饮食器 ；次要主题：器用乐器琴；次要主题：器用花器 ；次要主题：器用文玩（琴棋书画）胆瓶、花台；次要主题：花草桃花 ；次要主题：树木竹 

技法:

工笔 写意 界画 没骨 皴法斧劈皴皴法卷云皴人物衣纹描法(粗细线条) 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1865 收藏着录： 故宫书画录（卷五），第三册，页350 收藏着录： 故宫书画图录，第七册，页17-18 参考书目： 1.刘芳如，〈明唐寅仿唐人仕女〉，收入国立故宫博物院编辑委员会编，《明中叶人物画四家特展－杜菫、周臣、唐寅、仇英》（台北：国立故宫博物院，2000年初版），页153-154。2.江兆申，〈唐寅倣唐人仕女　轴〉，收入国立故宫博物院编，《吴派画九十年展》（台北：国立故宫博物院，1975年初版，1976年再版，1981年三版），页293。3.冯幼衡，〈唐寅仕女画的类型与意涵 — 江南第一风流才子的旷古沉哀〉，《故宫学术季刊》，第二十二卷第三期（2005年春），页55-90。 内容简介（中文）： 唐寅（1470－1524）是吴县人（今江苏苏州）。年少时，即以文采名闻乡里，弘治十一年（1498），复高中南京乡试第一名解元。他作画起初师法周臣（约1460－1535后），后又广学宋、元名家，能将南宋院体画精谨秀丽的画法，与元人清隽淡雅的笔墨融为一炉，而形成自家面貌，以致被后人尊为「明四大家」之一。本幅题材，取自唐代名妓李端端向张祐乞诗的故事。画中的李端端，手持一朵白牡丹，亭亭玉立于屏风前方。张祐则坐在榻上，神情相当专注，彷彿正要为美人构思佳句。张祐有诗赠李端端，诗中「一朵能行白牡丹」之句，对照此图中的仕女，极称契合。 幅中人物及屏风，落笔俱极工致，惟配景树石及款书部分，线条较为纵放，与唐寅四十七岁作的「山路松声」（1516）相当接近，故推测可能是同年或者稍早的作品。（刘芳如） 内容简介（中文）： 本幅题材，取自唐代名妓李端端向张祐乞诗故实。画李端端，手持白牡丹，亭亭立于屏风前。张祐坐榻上，神情专注，彷彿正欲为美人构思佳句。张祐诗云：「一朵能行白牡丹」，与此图同看，极称契合。 幅中人物及屏风，落笔俱工致，惟配景树石及款书部分，线条较为纵放，与「山路松声」（一五一六）接近，推测可能为同年或稍早的作品，时唐寅约四十七岁。 内容简介（中文）： 唐寅（西元一四七０－一五二三年），吴人（今江苏苏州）。字子畏，一字伯虎，号六如。赋性疏朗，狂逸不羁。弘治戊午举南京解元，画师周臣而远过之。为明四大家之一。唐崔崖、张祐，均以诗名扬州。每题诗娼肆，受其誉者则车马盈门。妓女李端端往求之，获一诗，有「扬州近日无双价，一朵能行白牡丹」之句，于是宾客咸臻其门。此图殆即绘李端端往崔崖，或张祐处乞书故事。 内容简介（中文）： 唐寅（西元一四七○－一五二三年），字伯虎，吴县人（今江苏苏州）。弘治戊午年得中南京解元，作画初受杜菫、周臣影响，后又广学宋、元名家，形成自家面貌，被后人尊为明四大家之一。本幅题材，取自唐代名妓李端端向张祐乞诗的故事。画中美人，手持白牡丹，亭亭立于屏风前。张祐坐榻上，神情专注，彷彿正要为她构思佳句。张祐诗中有「一朵能行白牡丹」之句，恰似此图的写照。(20100101) 内容简介（英文）： Tang Yin (style name Bohu), a native of Wuxian (modern Suzhou, Jiangsu), came in first place at the Nanjing provincial examinations in 1498. His early style was influenced by the Ming painters Du Jin and Zhou Chen, but later he studied the styles of many earlier Song and Yuan masters to form his own manner, leading him to be venerated as one of the Four Ming Masters. The subject of this lady painting comes from the story of the courtesan Li Duanduan seeking a lyric from the poet Zhang You (?-ca. 853). In it, Li Duanduan is shown holding a white peony blossom and standing upright by a screen. Zhang You sits on a daybed and concentrates, as if composing the line that made Li famous, “…a peony blossom able to walk along.” The line and image here thus seem to match flawlessly.(20100101) 内容简介（英文）： T’ang Yin, style name Po-hu, was a native of Soochow Kiangsu. He studied painting under Chou Ch’en but eventually surpassed him in skill and fame. T’ang Yin was also noted for his poetry and calligraphy, and he is counted as one of the Four Masters of the Ming dynasty. Two noted T’ang poets, Ts’ui Ya and Chang Yu, wrote poems about the boudoirs of the demimonde. Customers flocked to the establishments they praised, while the houses they criticized were deserted. A certain courtesan by the name of Li Tuan-tuan entreated for and obtained a poem by one of them, in which she was lauded: “Yangchow was recently startled to see a white peony that could walk.” Thereafter she became much sought after. This painting depicts the episode of Li Tuan-tuan making her request to one of the poets. 内容简介（英文）： The subject of this work derives from the story of the courtesan Li Tuan-tuan seeking a lyric from the poet Chang Yü. Li Tuan-tuan is shown holding a white peony blossom and standing by a screen. Chang Yü sits on a day-bed and concentrates, as if composing the line that made Li famous; “…a peony blossom who walks along.” The line and image here thus seem to match flawlessly. The brushwork of the figures and screen here is very refined, appearing unrestrained only in the trees and rocks of the background and the inscription in the upper right. Similar to Sound of Pines on a Mountain Path (1516), this work may have been done at around the same time or a little earlier, when T’ang Yin was 46.