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：宣统御览之宝
收传印记：庄
收传印记：天水郡收藏书画印记

题跋资料:

主题:

主要主题：人物官员（臣）八人主要主题：山水春景 ；其他主题：山水奇石太湖石；其他主题：花草  ；其他主题：建筑栏杆 ；其他主题：树木竹 ；其他主题：树木棕榈 ；其他主题：树木杨柳 ；其他主题：走兽马八匹

技法:

工笔 界画 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页13-14 收藏着录： 故宫书画图录，第一册，页49-50 参考书目： 1.林柏亭，〈五代梁赵喦八达春游图〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页52-53。2.王耀庭，〈赵喦八达春游图〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页153- 155。3.〈五代赵喦八达春游〉，收入国立故宫博物院编辑委员会编，《名宝上珍》（台北：国立故宫博物院，1995年初版一刷），页200。4.林柏亭、张华芝，〈五代梁赵喦八达春游〉，收入林柏亭、张华芝编，《画马名品特展图录》（台北：国立故宫博物院，1990年元月初版），页84-85。5.本社，〈后梁赵嵓八达春游〉，《故宫文物月刊》，第14期（1984年5月），封底。6.林柏亭，〈书画菁华特展 — 赵喦八达春游图〉，《故宫文物月刊》，第163期（1996年10月），页34-35。7.邱士华，〈〈八达春游〉的断代问题〉，《故宫文物月刊》，第298期（2008年1月），页72-81。8.邱士华，〈五代梁赵喦八达春游图〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页242。 内容简介（中文）： 赵喦（西元十世纪上半叶），梁太祖之驸马，擅画人物鞍马。本幅画八名贵族男士，骑骏马出游，园中草木呈新绿之色，马匹踏着轻步，表现出春游的愉悦气氛。本画人马、树石笔调之精致细腻，超过唐与五代之作，似北宋人的风貌，但它又保存了部分唐画之意，如主题放置于画面中央，前、中、远景采取层层而上的方式，来代表深度空间。此外，背景庭园中之巨型太湖石也是出现在古画中极早之例。 内容简介（中文）： 赵喦（十世纪前半），梁太祖之驸马，擅画人物鞍马。本幅画八名贵族男士，骑骏马出游，园中草木呈新绿之色，马匹踏着轻步，表现出春游的愉悦气氛。本画人马、树石笔调之精致细腻，超过唐与五代之作，似北宋人的风貌，但它又保存了部分唐画之意，如主题放置于画面中央，前、中、远景采取层层而上的方式，来代表深度空间。此外，背景庭园中之巨型太湖石也是出现在古画中极早之例。(20061206) 内容简介（英文）： Chao Yen, son-in-law of the Liang emperor T'ai-tsu, specialized in painting figures and saddled horses. Shown here are eight nobles riding steeds. The grass in this garden scene appears fresh and green as the horses gallop lightly along, suggesting a carefree spring outing. The brushwork of the figures, horses, trees, and rocks is even more delicate and refined than that of the T'ang dynasty or Five Dynasties period. In fact, it is closer to that of the Northern Sung, while also preserving elements of the T'ang style, such as the subject appearing in the middle of the composition and the separation of fore-, middle-, and background into sections to suggest space. Furthermore, this painting represents a very early appearance of a large Lake T'ai ornamental rock, shown in the background of this garden.(20061206) 内容简介（英文）： Chao Yen, son-in-law of the Liang emperor T'ai-tsu, specialized in painting figures and horses. Shown here are eight nobles on steeds. The garden grass appears fresh and green as the horses gallop lightly, suggesting a carefree spring outing. The brushwork here is even more delicate and refined than that of the T'ang or Five Dynasties. It is closer to that of the Northern Sung (960-1126), yet it also preserves elements of the T'ang style, including the subject appearing in the middle of the composition and the separation of fore-, middle-, and backgrounds into sections to suggest space. Furthermore, this painting represents a very early appearance of a large Lake T'ai ornamental rock, shown in the background of the garden. 网页展示说明 本幅以精致而细腻的笔调，描绘骑着骏马的八名达官显贵，神采奕奕地在宫苑中游春的情状。园中装饰着硕大的太湖石、复杂华丽的栏杆，处处流露富贵的气息，显示这件画作可能为宫廷所作。此作旧传为五代赵喦（西元10世纪上半）所绘。赵喦是梁太祖朱温的驸马，擅画人物鞍马。然画中的空间处理手法，尚不及徽宗朝画院作品〈文会图〉成熟，推测可能为十一世纪前、中期的稀有珍品。(20110913) 网页展示说明 This painting, done with delicate and exquisite touches of the brush, renders eight noble figures riding on steeds in a scene of radiant vitality in a palace garden. A large ornamental rock decorates the garden, and the complex yet gorgeous railing reveals an atmosphere of noble and elegant beauty, suggesting that this work was perhaps done for the court.The artist to whom this work is traditionally attributed is Zhao Yan of the Five Dynasties period. Zhao Yan, the son-in-law of Zhu Wen (Emperor Taizu of the Liang), specialized in painting saddled horses. The treatment of space in the hanging scroll here is not as mature as that seen later in “Literary Gathering,” a work of the Painting Academy at the court of Emperor Huizong. Thus, it would suggest that this painting is a rare and precious example from the early or middle eleventh century.(20110913)