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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.