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：嘉庆御览之宝题跋资料:
题跋类别：作者款识；作者：唐寅；题跋位置：本幅；款识：酒资长苦欠经营。预给餐钱费水衡。多少如花后屏女。烧金不学耿先生。吴门唐寅画并题。；书体：行书；全文： 印记：吴趋、唐子畏图书、唐寅私印主题:
主要主题：经史‧故事 韩熙载夜宴图；次要主题：人物官员（臣） ；次要主题：人物仕女 ；次要主题：人物侍从（侍女、童仆） ；次要主题：器用饮食器爵碗瓶、盘；次要主题：器用家俱（屏风）家俱、山水屏风；次要主题：建筑栏杆 ；次要主题：建筑庭院 ；次要主题：花草萱花 ；其他主题：器用乐器杖、拍板；其他主题：器用花器 ；其他主题：翎毛 ；其他主题：翎毛寒鸦 ；其他主题：果蔬 ；其他主题：山水夜景（月景） ；其他主题：山水奇石技法:
工笔 写意 皴法 人物衣纹描法(粗细线条) 苔点参考资料:
收藏着录： 石渠宝笈三编（延春阁），第四册，页1863 收藏着录： 故宫书画录（卷五），第三册，页38 收藏着录： 故宫书画图录，第七册，页13-14 参考书目： 1.刘英贝，《吴伟人物画风格研究》，国立中央大学艺术学研究所硕士论文，2007年。 内容简介（中文）： 韩熙载是五代南唐朝廷的官员，有政治才干，也具艺术造诣。他眼见国势日衰，痛心贵族官僚争权夺利，把一腔苦衷寄讬在歌舞夜宴之中。南唐后主李煜听说他生活荒纵，即派画家顾闳中深夜潜入韩宅， 窥看其纵情声色的场面，回来后画成「韩熙载夜宴图卷」。原画明代曾流传于苏州，唐寅（西元一四七○－一五二三年）将原画中主角击鼓作乐的场景改画为以庭园为背景，成为再创造的故事人物画。(20091016) 内容简介（中文）： 韩熙载是五代南唐朝廷的官员，有政治才干，也具艺术造诣。他眼见国势日衰， 痛心贵族官僚争权夺利，把一腔苦衷寄讬在歌舞夜宴之中。南唐后主李煜听说他生活荒纵，即派画家顾闳中深夜潜入韩宅， 窥看其纵情声色的场面，回来后画成「韩熙载夜宴图卷」。原画明代曾流传于苏州，唐寅（西元一四七○－一五二三年）将原画中主角击鼓作乐的场景改画为以庭园为背景，成为再创造的故事人物画。 内容简介（中文）： 唐寅（西元一四七０－一五二三年），江苏苏州人，字伯虎，号六如。碧绿梧桐、青翠竹丛、红榴白莲，庭院点燃蜡炬。韩熙载戴着纱帽穿长袍，捲袖击花鼓伴奏。小吏拿拍板侍于侧，少女在前表演六么舞，众目皆注视着。此图为观舞场面画家插绘许多家具，有夹头榫平头案、灯挂式交椅（上复锦绣椅披）、座屏、束腰弯腿带托泥鼓架，皆是明代家具，并非五代风格。而与另一张同名（重庆市博物馆藏）唐寅临本有多处近似，然细审此图并非唐寅眞蹟，应为明人附名之作。 内容简介（中文）： 唐寅（西元一四七０－一五二三），江苏苏州人，字子畏，一字伯虎，号六如。禀性爽朗，狂逸不羁。初同周臣学画，青出于蓝。画的题材很广。山水画学李成、范宽、马夏及元朝四家。能诗善画。因为胸中多数千卷书，画中充满了文学气质，加深了画的内涵。碧绿的梧桐、青翠的竹丛，红色石榴花、洁白的莲花。画屏高涨，曲栏低徊。韩熙载戴着纱帽，穿着红袍，捲着袖子挝鼓。小吏拿着板子侍侧于后，舞姬在前舞蹈。桌案上列着酒肴。庭院内点燃蜡炬。描绘出韩熙载生活的情形。 内容简介（英文）： T’ang Yin was a native of Suchou in Kiangsu province. In his early years he loved to drink, but was advised by his friend Chu Yün-ming to take the government examinations. He studied painting with Chou Ch’en, and soon surpassed his teacher. The subjects he painted were broad and refined. In landscape painting he followed Li Ch’eng, Fan K’uan, Ma Yüan, Hsia Kuai, and the Four Masters of the Yüan dynasty. He was good at both calligraphy and poetry, but when other people praised him he said, “My immortality will not lie there,” meaning that his true value was as a painter. Of broader capabilities than his master, both in the quantity of books he authored and in the literary disposition of his painting, he added depth of content to the painting style he had studied, thus becoming one of the Four Masters of the Ming. The we-t’ung tree in this painting is verdant, the bamboo grove a fresh shade of green, and the blossoms pure white. The painted screen is tall and broad, the winding balustrade low. Han Hsi-tsai is wearing an official’s hat and red robe, and with sleeves rolled up is beating a drum. One of the two smaller officials at his side is holding bundles of bamboo slats, perhaps to beat out a complementary rhythm. In front, two dancing girls are performing. There is wine on the table, and candles burn in the courtyard. Han Hsi-tsai is depicted with a very lifelike spirit. 内容简介（英文）： T’ang Yin (style name Po-hu and sobriquet Liu-ju) was a native of Soochow, Kiangsu. In a garden setting ablaze in the colors of white lotuses, red pomegranates, verdant bamboo, and emerald pawlonia trees, the figure of Han Hsi-tsai can be seen wearing a gauze cap and long-sleeved garment rolled up as he beats a tune on the large drum before him. A lower official stands to his side accompanying his performance with wooden clappers. In front, a maiden performs a dance with her eyes fixed on the host. This dance scene includes many examples of furniture introduced by the artist. There are recessed-leg tables with bridle-and-tenon joints, a “lamphanger” foldable chair with a brocaded cloth draped over its high back, a large standing screen, and a waisted drum stand with curved legs and circular horizontal stretchers. These are all examples of Ming (1368-1644) style furniture and not that of the Five Dynasties (907-960) when the original version was done. This painting is similar to another copy of the same title by T’ang Yin in the Chungking City Museum. Close comparison suggests that the National Palace Museum version is not the original, but could have been done by another Ming dynasty artist theless. 内容简介（英文）： Han Hsi-tsai was a Southern T’ang court official during the Five Dynasties. A political talent, he was also had a flair for the arts. He witnessed how national strength weakened and was distressed as nobility and bureaucrats struggled for power, burying his sorrow in song and dance at evening banquets. Li Yü, last ruler of the Southern T’ang, heard that his desperation, so he sent the painter Ku Hung-chung at night to Han’s residence to view his indulgences. After returning, Ku painted “Han Hsi-tsai’s Night Revels”. The original work had circulated around Soochow in the Ming dynasty, and T’ang Yin converted the central figure beating a drum in the original into a garden scene, thus reinventing the narrative. 内容简介（英文）： Han Xizai (902-970) was a Southern Tang court official during the Five Dynasties. A political talent, he also had a flair for the arts. He witnessed how national strength weakened and became distressed as nobility and bureaucrats struggled for power, thus burying his sorrow in song and dance at evening banquets. Li Yu, last ruler of the Southern Tang, heard of his desperation, so he sent the painter Gu Hongzhong at night to Han’s residence to observe Han’s indulgences. After returning, Gu painted “Han Xizai’s Night Revels.” The original work had circulated around Suzhou in the Ming dynasty, and Tang Yin converted the central figure beating a drum in the original into the garden scene here, thus re-inventing the narrative.(20091016)
登录
