书体:

色彩:

浅设色

装裱形式:

创作时间:

文字类型:

质地:

本幅纸引首纸拖尾纸

释文:

印记资料:

作者印记:十洲
作者印记:仇英之印
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
收传印记:毕沅宝藏(重一)
收传印记:毕沅审定(重一)
收传印记:秋颿珍赏(重一)

题跋资料:

题跋类别:题跋;作者:周天球引首丁未闰重阳。群玉山樵书。;书体:草书;全文:美人春思。(篆书)。丁未闰重阳。群玉山樵书。印记:公瑕父、群玉山樵

题跋类别:题跋;作者:陆治拖尾阳城居士陆治题;书体:楷书;全文:扑蝶弄春芳。看花到上阳。绣袜晴犹湿。罗衣煖自香。游丝蹴娇燕。牵粉入雕梁。忽见帘中色。长门锁绿杨。阳城居士陆治题。印记:南、阳

题跋类别:题跋;作者:沈禹文拖尾浮玉山人大谟次韵;书体:行楷书;全文:江头细草芳。缓步踏青阳。裙约湘波碧。钗衔翡翠香。春风依杜若。明月限河梁。忽听莺声早。闺心荡绿杨。浮玉山人大谟次韵。印记:暎碧楼

题跋类别:题跋;作者:文伯仁拖尾五峰山人文伯仁;书体:行书;全文:绿杨影里秋千架。红杏花边翡翠翘。相见预思相别恨。东风庭院自魂消。五峰山人文伯仁。印记:墨池清兴

题跋类别:题跋;作者:文彭拖尾三桥居士文彭;书体:楷书;全文:杨柳垂丝春昼长。游蜂逐队觅花房。一声百舌湘帘捲。惟有多情易断肠。三桥居士文彭。印记:文彭

题跋类别:题跋;作者:石岳拖尾石岳;书体:行书;全文:春来多恨昼偏长。无奈调絃出洞房。芍药翻红心更远。一枝欲折几回肠。石岳。印记:石民望

题跋类别:题跋;作者:文嘉拖尾茂苑文嘉;书体:行书;全文:苏小门前油壁车。四娘堤畔满谿花。閒来戏扑花间蝶。一片轻绡乱䌽霞。茂苑文嘉。印记:文氏休承

题跋类别:题跋;作者:张柷拖尾锦峰山人题;书体:楷书;全文:画阁春风锦帐浓。翠屏初日绣帘重。花间恨杀啼莺早。梦断江头十二峰。锦峰山人题。印记:含藻

题跋类别:题跋;作者:金用拖尾京兆金用漫次;书体:行楷书;全文:绣户散春芳。雕梁(改栏字)丽晓(晓字旁)阳。鬓将云共身单。人与玉同香。拂黛频开镜。调歌自绕梁。独有秋千影。时复荡垂杨。京兆金用漫次。印记:洒心斋、金氏元宾

题跋类别:题跋;作者:俞章拖尾龙巖俞章;书体:行楷书;全文:纱明花烛下。袖拂镜台前。凄锵传玉树。掩抑出金莲。月似瑶池媚。云同洛浦妍。愿将桃李思。来入绮罗筵。龙巖俞章。印记:浮玉山人、德音父

题跋类别:题跋;作者:黄守曾拖尾汝南黄守曾;书体:楷书;全文:文姬名冠世。绰约许谁同。彷彿惊鸿态。褊迁舞结风。间鸣歌扇底。弄影向花丛。莫讶眠沙上。由来胜掌中。汝南黄守曾。印记:皋亭

题跋类别:题跋;作者:刘寅拖尾体泉刘寅题;书体:行楷书;全文:春来桃李斗芳菲。蜂蝶寻香绕树枝。寂寞绣屏人不见。且将情事寄鱼书。体泉刘寅题。

题跋类别:题跋;作者:刘璋拖尾彭城刘璋;书体:楷书;全文:杨柳垂堤春正浓。佳人离别叹西东。深闺独守愁千斛。懒看繁花簇锦红。彭城刘璋。

题跋类别:题跋;作者:鲁治拖尾岐云山人鲁治;书体:行书;全文:吴姬十五颜如花。天涯游子久思家。春风吹入鸳鸯梦。日上重阑掩碧纱。短墙脩竹是郎家。踏彳扁苍苔一迳斜。敲断月明人不见。重门深锁玉兰花。岐云山人鲁治。印记:岐云山人、鲁生印

主题:

主要主题:佛道人物神、仙神(洛神)主要主题:经史‧故事 洛神;其他主题:山水云 

技法:

工笔 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1874-1876 收藏着录: 故宫书画录(卷四),第二册,页184-186 收藏着录: 故宫书画图录,第十八册,页367-372 参考书目: 1.许郭璜,〈明仇英美人春思〉,收入许郭璜编,《仇英作品展图录》(台北:国立故宫博物院,1989年初版),页96-97。2.刘芳如,〈明仇英美人春思〉,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165-166。3.刘芳如,〈明仇英美人春思〉,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85。4.石守谦,〈洛神赋图:一个传统的行塑与发展 〉,《国立台湾大学美术史研究集刊》,第23期(2007),页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《擣衣图》及《美人春思图》〉,《议艺份子》,第11期(2008年9月),页9-25。 内容简介(中文): 此卷画美人云裾霞裳,独立嫣然,亭亭云水,渺无涯际。仕女衣纹,用笔略带方折,云水则较圆柔。云以淡墨勾勒,水用螺青淡染。构图虽简,取意精谨。画中人,应即为曹植〈洛神赋〉中的洛水之神。赋文中,描写女神体态之美,如「秾纤得衷,修短合度。肩若削成,腰如约素。凌波微步,罗袜生尘」等句,向来脍炙人口,传为妙笔。仇英此卷,确已为千载奇文,作了绝佳诠释。 内容简介(中文): 仇英(约西元一四九四-一五五二年),江苏太仓人。字实父,号十洲。初执事丹青(一说为漆工),周臣异而教之,后遂成名。画工山水、人物、兼善鸟兽、花卉,所作有院画之精能而饶士气,为明四大家之一。 画美人云裾霞裳,独立嫣然,亭亭云水,渺无涯际。画仕女衣纹用笔略带方折,云水则为圆柔。云以淡墨勾勒,水用螺青淡染。构景虽简,取意精谨。盖此卷所绘或即为洛神。正所谓凌波微步,罗袜生尘也。 内容简介(英文): 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. 内容简介(英文): 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.
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