书体:

色彩:

设色,描金,研朱

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅绢隔水一绫隔水二绫

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：石渠宝笈
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：子京父印（重一）
收传印记：墨林山人
收传印记：项氏子京
收传印记：檇李项氏士家宝玩
收传印记：宫保世家
收传印记：天籁阁
收传印记：沮溺之俦
收传印记：神游心赏
收传印记：子孙世昌（重一）
收传印记：子京
收传印记：神（重一）
收传印记：品（重一）
收传印记：寄傲
收传印记：平生真赏
收传印记：项墨林父祕笈之印（重一）
收传印记：项墨林鑑赏章（重一）
收传印记：子京父印
收传印记：墨林生
收传印记：项叔子
收传印记：六艺之圃
收传印记：项子京家珍藏
收传印记：退密
收传印记：项元汴印
收传印记：墨林祕玩
收传印记：墨林子
收传印记：桃花源里人家
收传印记：子孙永保（重一）
收传印记：苍巖子
收传印记：蕉林鑑定
收传印记：图史自娱
收传印记：观其大略
收传印记：蕉林收藏
收传印记：蕉林玉立氏图书

题跋资料:

题跋类别：作者款识；作者：仇英；题跋位置：本幅；款识：仇英实父谨制；书体：隶书；全文： 印记：实父、仇英

主题:

主要主题：山水春景 主要主题：器用家俱（屏风）铜镜．奁主要主题：建筑宫殿 主要主题：人物侍从（侍女、童仆）侍女主要主题：人物仕女 ；次要主题：树木杨柳 ；次要主题：树木松 ；次要主题：山水奇石 ；次要主题：建筑篱笆、围墙围墙；次要主题：人物孩童 ；次要主题：建筑栏杆 ；次要主题：建筑池水 ；次要主题：树木柏 ；次要主题：建筑庭院 ；其他主题：人物后妃 ；其他主题：建筑台阁 ；其他主题：草虫蝶蛾 ；其他主题：器用如意 ；其他主题：山水溪涧、湍泉溪涧；其他主题：树木竹 ；其他主题：器用秋千 ；其他主题：器用饮食器 ；其他主题：翎毛孔雀 ；其他主题：人物画师 ；其他主题：建筑回廊 ；其他主题：翎毛鹦鹉 ；其他主题：器用扇 ；其他主题：建筑亭 ；其他主题：器用文玩（琴棋书画） ；其他主题：器用花器浇花器；其他主题：器用香炉．火盆 ；其他主题：翎毛  ；其他主题：翎毛鸳鸯 ；其他主题：走兽猫（貍奴）猫；其他主题：人物军士 ；其他主题：器用乐器琵琶．筝．琴．排箫．笛．箜篌；其他主题：器用耕织渔猎织（刺绣．女红用具．针．线）

技法:

工笔 界画 皴法 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1055 收藏着录： 故宫书画录（卷四），第二册，页183 收藏着录： 故宫书画图录，第十八册，页361-366 参考书目： 1.王耀庭，〈（传）明仇英汉宫春晓图〉，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24-25。2.刘芳如，〈明仇英汉宫春晓〉，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167-170。3.刘芳如，〈仇英汉宫春晓〉，收入刘芳如、张华芝主编，《群芳谱 — 女性的形象与才艺》（台北：国立故宫博物院，2003年初版一刷），页50。4.刘芳如，〈明仇英汉宫春晓〉，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84-85。5.赖毓芝，〈明仇英汉宫春晓〉，《故宫文物月刊》，第300期（2008年3月），页36-37。6.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。7.刘芳如，〈明仇英汉宫春晓〉，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320。8.陈葆真；〈康熙皇帝的生日礼物与相关问题之探讨〉，《故宫学术季刊》，第三十卷第一期（2012年秋季号），页1-52。 内容简介（中文）： 1.本幅以春日晨曦中的汉代宫廷为题，描绘后宫佳丽百态；其中，并包含画师毛延寿为王昭君写像的著名故实。 通幅构景繁复，用笔清劲而赋色妍雅，林木奇石与华丽的宫阙穿插掩映，舖陈出宛如仙境般的瑰丽景象。除却美女群像之外，复融入琴棋书画、鑑古、莳花等文人的休閒活动，诚为仇英历史故事画中的精彩力作。此画系为项元汴所作，完成时间约在嘉靖廿一年（一五四二）以后。 内容简介（中文）： 仇英（约西元一四九四－一五五二年），字实父，号十洲。所作有画院之精能而饶士气，为明四大家之一。本幅以春日晨曦中的汉代宫廷为题，描绘后宫佳丽百态。通幅构景繁复，用笔清劲而赋色妍雅，林木奇石与华丽的宫阙穿插掩映，舖陈出宛如仙境般的瑰丽景象，为仇英历史故事画中的精彩力作。此画系为项元汴所作，卷首有千字文第七四二「虑」字编号，卷末有项氏「价值两百金」语。 内容简介（中文）： 仇英（约西元一四九四至一五五二年），江苏太仓人。字实父，号十洲。初执事丹青（一说作漆工），周臣异而教之，后遂成名。所作有画院之精能而饶士气，为明四大家之一。汉宫春晓，盖写宫中嫔妃生活，借皇家园庭殿宇之盛，以骋其华缛藻丽之笔耳。所传画本甚多，有画毛延寿为嫔妃写照者，亦有不画此景者，可知初无一定故事。仇英此卷，钩勒秀劲而设色妍雅，实属院藏同类题材中之最佳者。 内容简介（英文）： Spring Dawn in the Han Palace Ch’iu Ying (ca. 1494-1552) Ming Dynasty (1368-1644) Spring Dawn is a vivid portrayal of the lavish lifestyle of the Han dynasty (206 B.C.-A.D. 220) imperial harem, which was long a favorite theme of Chinese painters. Ch’iu Ying’s version is one of the most brilliantly accomplished of these and is the finest of such works in the museum. Unlike many other paintings of the Han seraglio this one depicts the semi-apocryphal court painter Mao Yen-shou, who is here shown painting portraits of the imperial consorts, which the emperor used to select from his many beauties. The woman now sitting for her portrait is possibly the legendary beauty Wang Chao-Chün, who failed to bribe the artist to create a lovlier-than-life resemblance. Her portrait was correspondingly unflattering, and she was neglected by the emperor. When she was eventually sent away from the court to wed a foreigner, the emperor finally saw how beautiful she was and regretted having dismissed her. The painter was executed. Ch’iu Ying, one of the "Four Masters of the Ming," was a native of T’ai-ts’ang, Kiangsu. Originally a painting artisan (by some accounts a lacquer artist), he studied under Chou Ch’en (fl. 1500-1535) and created paintings that combined the finish of the academy style with the spirit of literati painting. 内容简介（英文）： Qiu Ying painted with the precision of an academy master but had a rich literati touch, making him one of the Four Ming Masters. This work is an imaginary spring morning in a Han dynasty palace depicting the women’s quarters. The composition is complex, the brushwork pure and strong with beautiful yet elegant colors. Interspersed among trees and decorative rocks are opulent palatial buildings, unveiling magnificent scenery similar to a land of immortals and making this a masterpiece of Qiu’s historical/narrative painting. This work was in Xiang Yuanbian’s collection, using the 742nd character (lü 虑) from the “Thousand Character Classic” as an accession number at the front of the scroll. At the end he recorded that its “value is 200 gold.” 内容简介（英文）： This work represents various activities in a Han dynasty (206 BC-AD 220) palace on a spring morning. Among them is the famous story of Mao Yen-shou painting the portrait of Wang Chao-chun. The intricate composition is rendered with crisp and strong brushwork and beautiful colors. The lavish palace scenes are punctuated by trees and decorative rocks, creating marvelous scenery similar to that of the immortals. In addition to the groups of beauties, leisure activities of the literati, such as the zither, chess, calligraphy, and painting as well as appreciating antiquities and planting folwers are shown. This masterpiece of historical narrative painting by ch'iu Ying was done for Hsiang Yuan-pien and completed after 1542. 网页展示说明 仇英（约1494－1552），字实父，号十洲。所作有画院之精而饶士气，为明四大家之一。本幅以春日晨曦中的汉代宫廷为背景，描绘佳丽百态，其中并穿插毛延寿为王昭君写像的情节。通幅构景繁复，用笔清劲而赋色妍雅，林木奇石与华丽的宫阙交互掩映，铺陈出宛如仙境般的瑰丽景象。除却美女群像之外，复融入琴棋书画、鑑古、莳花等文人休閒活动，诚为仇英历史故事画中的精彩力作。(20110913) 网页展示说明 Qiu Ying (style name Shifu, sobriquet Shizhou) did paintings with the refinement of the Painting Academy and the atmosphere of scholar artists, becoming known as one of the Four Ming Masters.This work takes as its background a spring dawn in the Han dynasty palaces. Ladies are depicted in various activities, and the story of Mao Yanzhou doing the portrait of Wang Zhaojun is interwoven within. The scenery throughout the work is complex, the brushwork pure and strong with coloring beautiful and refined. The trees and decorative rocks play off the gorgeous palace architecture, unfolding magnificent scenery not unlike a realm of the immortals. Not only depicting groups of beauties, the painting also incorporates the literati leisure activities of the zither, “go,” painting, and calligraphy; appreciating antiquities; and cultivating flowers. Thus, it ranks as a masterpiece among Qiu Ying’s historical narrative paintings.(20110913)