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：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
收传印记：晋府图书
收传印记：清和珍玩
收传印记：晋府书画
收传印记：敬德堂图书

题跋资料:

主题:

主要主题：人物高士（士人、隐士） 主要主题：人物侍从（侍女、童仆） ；次要主题：树木梧桐 ；其他主题：山水奇石 ；其他主题：树木松 ；其他主题：花草  ；其他主题：建筑庭院 ；其他主题：建筑栏杆 ；其他主题：器用投壶 ；其他主题：器用扇扇、帐扇；其他主题：器用家俱（屏风）桌、椅、坐榻、屏风；其他主题：器用饮食器 ；其他主题：器用文房用具 ；其他主题：器用文玩（琴棋书画） 

技法:

工笔 界画 皴法 苔点 人物衣纹描法(匀称线条) 人物衣纹描法(减笔) 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1151 收藏着录： 故宫书画录（卷五），第三册，页137 收藏着录： 故宫书画图录，第三册，页67-68 参考书目： 1.林莉娜，〈宋人梧阴清暇〉，收入国立故宫博物院编辑委员会编，《画中家具图录》（台北：国立故宫博物院，1986年初版），页59。2.陈阶晋，〈「天子之宝 — 台北国立故宫博物院的收藏」展品系列(四) — 绘画〉，《故宫文物月刊》，第247期（2003年10月），页46。 内容简介（中文）： 庭园之中，几榻纷列，髯者数人。或罢读閒谈，或剔牙相对，或倚桐观画。经与刘松年十八学士图卷相较，盖与此幅同出一稿，此即其中第一段。按所题姓名，则剔牙者为蔡允恭，对书者为苏世长，倚桐观画，背面无须者许敬宗，正面有须者褚亮也。本幅用笔细劲，凡几榻彝鼎诸器物，细钩纹缕，极繁缛之能事。 内容简介（中文）： 庭园之中，几榻纷列，髯者数人。或罢读閒谈，或剔牙相对，或倚桐观画。无款印。按此画类似刘松年十八学士图卷中之第一段。以所题姓名，则剔牙者为蔡允恭，对书者为苏世长，倚桐观画，背面无须者许敬宗，正面有须者褚亮也。本幅用笔细劲，人物衣褶与彝鼎诸器物，细钩纹缕，极繁缛之能事。而几榻、屏风、栏槛界画甚为精谨。全幅用笔用界，浑然一片，相融无间。 内容简介（中文）： 庭园之中，几榻纷列，髯者数人。或罢读閒谈，或剔牙相对，或倚桐看画。此图与刘松年唐十八学士图前段相同，原本应为长卷构图。束腰黑漆描金画桌腿足截面作矩尺形，残留壶门牙脚的痕迹，为免结构容易摇幌足端装有托泥。中央人物所坐竹制靠背条椅，搭脑出头，坐面下腿足为云头纹曲形足带托泥，与前方开光圆凳同采竹材。另一龟背纹藤方凳，传世实物极少见。花腿桌腿足间联结构件有罗锅枨，摆脱宋直枨基本形式，着重装饰作用，能承重又能加强四腿的牢固，为明代风格。 内容简介（中文）： 庭园桐树下，桌案陈设画幅正中，山水屏风列于其后。文士四人，有的罢读閒谈、剔牙相对，有的倚靠于树下观赏画卷。另有仆侍三人，分作手执宫扇、整理巾服及削瓜果状。经与院藏《宋刘松年十八学士图》卷相较，人物布景均同，可知出于同稿，此即其中第一段。按所题姓名，则剔牙者为蔡允恭，对书者为苏世长，倚桐观画，背面无须者许敬宗，正面有须者褚亮。按四人皆为唐秦府十八学士中人。自唐阎立本受命画「秦府十八学士图」以来，该图即为历代画家竞相仿效的题材。唐时似以个人立身肖像的形式为主，宋代开始出现了以琴、棋、书、画、品茗、赏古、清谈等形式，以表达文人生活雅趣之象征。这种情节铺叙方式，同时也为元、明时代所传承延续。本幅用笔线条简练，主题突出，人物相貌姿态各异，神情鲜明。但笔墨之精练略不如原图，当为后人摹本。（陈阶晋） 内容简介（英文）： In this garden setting are figures and furniture, including chairs, stools, screens, platforms, and tables. The scholars here are taking a break from their studies to chat, pick their teeth, and sit under a pawlonia tree to look at works. This painting corresponds to the first part of "Eighteen Scholars of the T'ang"by Liu Sung-nien (fl. ca. 1174-1224), indicating that this may have been based on his handscroll. The black-lacquered, waisted table is decorated with gold and the legs have short vertical and horizontal braces at the corners--remnants of cusped openings. However, in order to prevent the table from wobbling, horizontal stretchers still run along the ground between the thin legs. The low-backed, long bamboo bench upon which the central figure sits has projecting rails and decorative, cloud-shaped legs. Its style appears to be the same as that of the round stool in front of the table. The rectangular stool on the right made of bound wicker in the shape of tortoise shells is rare. The table with floral legs to the left has a high mid-section and curved ("humpbacked") stretchers. This curved brace is a departure from the straight ones of Sung furniture. It not only adds a decorative touch, but also strengthens and stabilizes the table--being characteristic of Ming (1368-1644) furniture, instead. 内容简介（英文）： Tables are set up in a garden. Several bearded men are relaxing in the shade of a tree. A gentleman stops reading a book and converses with a friend, who faces his companion, ;picking his teeth. At the lower left corner, a figure leans against the firmiana tree and talks with a companion who holds a bunch of scrolls. The painting is not signed. The composition of theis work is exactly the same as the first section of Liu Sung-nien's handscroll, The Eighteen Scholars. According to the document, the man who is picking his teeth is T'sai Yün-kung. The man reading the book is Su Shih-chang. The beardless man who leans against the firmiana tree with his back to the viewer is Hsü Ching-tsung. The bearded man facing the viewer is Ch'u Liang. The brushwork is refined, yet full of vitality. Figures, drapery, and bronze ware are depicted in detailed lines. Tables, screen, and balustrades are rendered in a delicate, exacting ruled-line painting style. The brush and ruler are handled harmoniously in a unified manner. 内容简介（英文）： Tables and couches are set about in a garden. A group of scholars are assembled. Some have ceased studying and are talking at leisure, one is picking his teeth, and another is leaning against the tree looking at paintings. In comparing this painting with The Eighteen Scholars, a handscroll by Liu Sung-nien (fl. 1174-1224), the compositions are identical : At Leisure in the Shade of a Wu-t'ung Tree is but one section of the composition. According to the names inscribed on Liu Sung-nien's handscroll, the scholar picking his teeth is Ts'ai Yün-kung, the scholar collating texts is Su Shih-ch'ang, and the scholar leaning against the tree looking at paintings is HsüChing-tsung. The bearded scholar, depicted en face, is Ch'u Liang. The use of the brush is fine and strong. Tables, couches, bronzes and miscellaneous objects are meticulously outlined and ornamented.