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:

收传印记：宣和殿宝
收传印记：高氏珍赏
收传印记：雅尚斋
收传印记：古杭瑞南高氏藏画记

题跋资料:

主题:

主要主题：人物高士（士人、隐士） ；其他主题：人物侍从（侍女、童仆） ；其他主题：建筑庭院 ；其他主题：器用饮食器茶具；碗；其他主题：器用文玩（琴棋书画） ；其他主题：器用文房用具 ；其他主题：器用家俱（屏风）榻；其他主题：树木  

技法:

界画 双钩 

参考资料:

收藏着录： 故宫书画录（卷三），第五册，页31 收藏着录： 故宫书画图录，第一册，页125-126 参考书目： 1.王耀庭，〈（传）五代后蜀丘文播文会图〉，收入王耀庭主编，《传移模写》（台北：国立故宫博物院，2007年初版），页32。 内容简介（中文）： 丘文播（约活动于西元十世纪中期），擅画佛道人物，此图为高士夏日聚会情景。五代之后家具种类更趋丰富，箱形壶门床榻向宽大发展，使用场合较不固定，可在书斋、亭榭、庭院安设，为接待宾客与生活起居的重心。约在西元九世纪箱形平列壶门大榻有新的改进，框架结构打破边框限制，下部蕊板消失，上部横板雕成曲线纹，四角支柱竖直部份变成条板状架于托泥上。床榻上另有一直方凭几，按古无桌椅，备几以为凭倚之用。此图据丘文播稿本描摹，实际创作年代尚无定论。 内容简介（中文）： 天保七年（556），北齐文宣帝命樊逊与诸州郡十一位秀才、孝廉校定群书。唐宋时期，已有〈北齐勘书图〉的流传。本画即取自〈勘书图〉中段，画四人坐胡床，或展卷阅读，或持笔书写，旁有男女侍者持几、捧茶随侍。旁配树石，增添园林之趣。本幅无作者款印，旧传为丘文播之作，然当依稿描摹，何时所成？尚无定论。丘文播（活动于10世纪中期），四川广汉人。又名潜。初作释道人物，兼绘山水。(20110913) 内容简介（英文）： In 556, Emperor Xuandi of the Northern Qi ordered Fan Xun along with eleven Cultivated Talents and Nominated Candidates from various prefectures to collate and proofread a collection of books. Later in the Tang and Song dynasties, paintings by the title “Collating Books in the Northern Qi” were already in circulation. This painting derives from the middle section of “Collating Books,” depicting four figures sitting on a large daybed engaged in such activities as opening scrolls and reading or holding a brush and writing. To the side are male and female attendants holding small trays and tea ready to serve. Rock and tree motifs add to and complement the garden scenery. This work has neither seal nor signature of the artist but was attributed in the past to Qiu Wenbo. When it was done as a tracing based on the original remains unknown.Qiu Wenbo (also named Qian) was a native of Guanghan in Sichuan who first painted Buddhist and Taoist figures while also doing landscapes.(20110913) 内容简介（英文）： Ch'iu Wen-po excelled at painting Buddhist and Taoist figures. This work represents a gathering of scholars on a summer day, and, although it appears to be a close copy of Ch'iu Wen-po's work, the period in which it was executed has yet to be determined. After the Five Dynasties (907-960), the variety of furniture increased. The large box-shaped platform with cusped openings, for example, became wider and could be used in numerous places, such as studios, pavilions, and halls. It could also serve as both the center of gatherings or everyday life. In approximately the ninth century, the platform with cusped openings underwent a major change. The construction of the underlying frame began to depart from the restraints of the upper surface border. The floral decor of the lower portion disappeared and the horizontal board above increasingly became curved. The corner posts also became integrated into the stabilizing stretcher base below. In this painting, a small resting table has been placed on the platform. Since large tables and chairs were not used in antiquity, this type of small armrest was developed to lean on while seated on platforms.