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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：养心殿鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：项墨林鑑赏章
收传印记：檇李项氏士家宝玩
收传印记：真赏
收传印记：项元汴印
收传印记：墨林秘玩
收传印记：项叔子
收传印记：耿会侯鑑定书画之章
收传印记：信公珍赏
收传印记：公
收传印记：都尉耿信公书画之章
收传印记：琴书堂
收传印记：丹诚
收传印记：宜尔子孙
收传印记：珍秘
收传印记：櫰庭清玩
收传印记：阿尔喜普之印
收传印记：御赐忠孝堂长白山索氏珍藏
收传印记：（画幅左下角及右下角尚各有旧印数方。但漫漶不可辨。）

题跋资料:

题跋类别：作者款识；作者：宋徽宗；题跋位置：本幅；款识：题文会图。儒林华国古今同。吟咏飞毫醒醉中。多士作新知入彀。画图犹喜见文雄。；书体：行书；全文：

题跋类别：作者款识；作者：宋徽宗；题跋位置：本幅；款识：（押字） 

题跋类别：题跋；作者：蔡京；题跋位置：本幅；款识：无；书体：行书；全文：臣京谨依韵和进。明时不与有唐同。八表人归大道中。可笑当年十八士。经纶谁是出羣雄。

主题:

主要主题：人物官员（臣） 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：树木  ；其他主题：树木杨柳 ；其他主题：建筑庭院 ；其他主题：器用家俱（屏风）桌，椅；其他主题：器用饮食器 ；其他主题：器用文房用具 ；其他主题：器用乐器 

技法:

工笔 界画 双钩 

参考资料:

收藏着录： 石渠宝笈续编（养心殿），第二册，页929 收藏着录： 故宫书画录（卷五），第三册，页65 收藏着录： 故宫书画图录，第一册，页297-298 收藏着录： 国宝的形成-书画菁华特展，页76-81、306 参考书目： 1.陈阶晋，〈宋徽宗文会图〉，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88-89。2.〈宋徽宗文会图〉，收入国立故宫博物院编辑委员会编，《园林名画特展图录》（台北：国立故宫博物院，1987年十月初版），页69-70。3.陈韵如，〈宋徽宗文会图〉，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161- 163。4.陈阶晋，〈文会图〉，收入林柏亭主编，《国宝菁华 — 书画‧图书文献篇》（台北：国立故宫博物院，2006年12月），页199。5.本社，〈宋徽宗文会图〉，《故宫文物月刊》，第79期（1989年10月），页1。6.杨元铮，〈谈耿昭忠与安岐的两方"珍祕"印〉，《故宫博物院院刊》，总第141期(2009年第1期)，页60-63。7.邱士华，〈宋徽宗文会图〉，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272。 内容简介（中文）： 宋徽宗（西元一０八二─一一三五年），姓赵名佶，性好书画，秉赋极高。山水花鸟人物莫不笔墨挺秀，雅韵宜人，书号瘦金体，笔势劲逸。 画园池岸边，竹树掩映，中设大案，坐饮者八人，一人立执檀板，二人树下立谈，侍者九人，皆神情雅俊，衣褶挺劲生动。竹树俱用双钩，笔笔细劲，如钢针鑴铁，必尽全力。通幅笔迹繁细，千丝万缕，而无一懈笔，盖极精妙之能事矣。 内容简介（中文）： 宋徽宗（西元1082-1135年），姓赵名佶，性好书画，秉赋极高。山水花鸟人物莫不笔墨挺秀，雅韵宜人。 本幅描绘池边大树下，一群文士正据案饮宴。前方有僮仆在一小桌上备茶，其中一人手持长柄匙自茶罐舀取茶末，沿用的是唐末以来盛行的「点茶法」。人物皆神情雅俊，衣褶挺劲生动。竹树俱用双钩，笔笔细劲，如钢针鑴铁，必尽全力。通幅笔迹繁细，千丝万缕，而无一懈笔，盖极精妙之能事矣。 此画庭台器具描绘得极为华美，有别于五代时文会图简单的背景，北宋的文会图系置于完备的花园场景之中，由此也反映出北宋园林的发达。此图右上虽有徽宗题诗，左中有他的画押，左上另有蔡京题诗，但俱属可疑，应是画院中名手之作。 内容简介（中文）： 虽然不是徽宗皇帝亲笔所画，但此画右上方有他的题诗，左方对称的则是宠臣蔡京的和诗，内容提及唐太宗与十八学士的故实，意在称颂当时朝中人才之盛，文治更过盛唐。这是徽宗亲自指导下的画院产品。 画中于庭院置大桌，有文士围坐，描绘精工细致，与其他徽宗画院作品如出一辙。桌上满置之华丽器皿与装饰，让人想见宫中宴集景象。以宫苑为舞台，邀请观众欣赏的表现图式，亦见于〈八达春游〉，是一创新手法，影响后世深远。(20061206) 内容简介（英文）： Even though this is not a work personally brushed by Emperor Hui-tsung, it still bears his inscription of poetry in the upper right, complemented on the left by a poem in harmony by his favored official Ts'ai Ching. The contents mention the story of the T'ang emperor T'ai-tsung and the Eighteen Scholars, the intention being to extol the magnificence of the literary talents gathered under Hui-tsung and how his administration surpassed that of even the High T'ang. As such, this work is a product of the Painting Academy under the personal direction of Emperor Hui-tsung. Placed in a courtyard setting is a large table around which are seated scholars. The rendering is quite precise and refined, correlating exactly with other works of Hui-tsung's Painting Academy. The table is covered with beautiful utensils and decorative objects, providing the viewer with an intimate glimpse at what a court banquet must have looked like. As seen here, the use of a palace garden as a stage in painting can also be found in “Eight Princes on a Spring Excursion”. This form of expression was innovative for its time and had a major impact on later painting.(20061206) 内容简介（英文）： This work represents scholars gathered for a feast at a table under large trees by a pond. In front are servants at a small table preparing tea; one of them holds a long-handled spoon and scoops ground tea leaves in the custom of tea drinking popular since the T’ang dynasty(618-907). The modeling of gentlemen’s expressions and the rendering of their garments are quite convincing. The bamboo and trees were painted using the double outline method (shuang-kou). Each stroke was carefully brushed with surety and strength, like strands of iron. The setting here is extravagant, differing from the simplicity of literary gatherings in the Five Dynasties. In the Northern Sung, garden settings sere elaborate, reflecting developments at the time. Although Emperor Hui-tsung’s poem is in the upper right(with his signature at the left) and an inscription by prime minister Ts’ai Ching in the upper left, they appear dubious. Yet, it still appears to have been done by a famous court painter. 网页展示说明 池边大树下，一群文士正据案饮宴。前方有僮仆在一小桌上备茶，其中一人手持长柄匙自茶罐舀取茶末，呈现唐末以来盛行的「点茶法」。人物皆神情雅俊，衣褶挺劲生动。竹树俱用双钩，笔笔细劲，如钢针鑴铁，必尽全力。通幅笔迹繁细，千丝万缕，而无一懈笔，极精妙之能事。此图右上虽有宋徽宗（1082－1135）的题诗，左中有他的画押，左上另有蔡京题诗，但俱属可疑，可能是徽宗画院名手之作。(20110913) 网页展示说明 In this painting appears a group of scholars in the middle of a banquet by a pond and under large trees. In front are attendants preparing tea at a small table, and one of them holds a long spoon to scoop ground tea from a jar, representing the custom of “whisking tea” popular from the late Tang dynasty. The figures are all spirited and elegant, the drapery lines of the clothes strong and animated. The bamboo and tree forms are done with outlines, each brush stroke fine yet forceful, like steel needles and engraved iron. The brushwork throughout this work is fine and complex, appearing like myriad strands of silk woven together. Without a single careless stroke, it is an exceptionally marvelous undertaking.Despite the presence of a poem inscribed by Emperor Huizong (1082-1135) in the upper right (with his cipher to the left) and another poem by Cai Jing in the upper left, there is still some doubt as to whether they are authentic. Perhaps this painting came from the hand of a famous artist at Huizong’s Painting Academy.(20110913)