书体:
色彩:
水墨装裱形式:
轴创作时间:
文字类型:
质地:
本幅纸诗塘纸左右边幅纸下方三幅纸释文:
印记资料:
鑑藏宝玺：太上皇帝题跋资料:
题跋类别：作者款识；作者：唐寅；题跋位置：本幅；款识：买得青山只种茶。峯前峯后摘春芽。烹煎已得前人法。蟹眼松风候自嘉。吴郡唐寅。；书体：行书；全文： 印记：唐子畏、唐伯虎主题:
主要主题：建筑茅草屋 ；次要主题：山水春景 ；次要主题：树木寒林．枯树枯树；次要主题：人物高士（士人、隐士） ；次要主题：人物侍从（侍女、童仆）童仆三人；次要主题：器用饮食器茶壶、杯；其他主题：器用扇 ；其他主题：器用家俱（屏风）帘、桌椅；其他主题：山水瀑布 ；其他主题：树木 ；其他主题：器用文房用具书本技法:
写意 皴法披麻皴人物衣纹描法(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1859 收藏着录： 故宫书画录（卷八），第四册，页79 收藏着录： 故宫书画图录，第七册，页33-34 参考书目： 1.王耀庭，〈（传）明文征明品茶图〉，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44。2.〈明唐寅品茶图〉，收入刘芳如主编，《书画装池之美》（台北：国立故宫博物院，2008年初版一刷），页68。3.江兆申，〈唐寅品茶图 轴〉，收入国立故宫博物院编，《吴派画九十年展》（台北：国立故宫博物院，1975年初版，1976年再版，1981年三版），页300。 内容简介（中文）： 唐寅（西元一四七０－一五二三年），吴（今江苏苏州）人，字子畏，一字伯虎，号六如。赋性疏朗，狂逸不羁。弘治戊午举南京解元，画师周臣而远过之。为明四大家之一。寒林之中，草屋数间，主人坐堂前，指点童子烹茶。后间尚陈设茶具杂器，童子二人，亦为调茗而忙碌。山树屋宇人物，笔笔皆用中锋，而用淡墨烘染，极其厚润。 内容简介（中文）： 寒林之中，草屋三间，主人坐堂前，童子烹茶于屋角。后间陈茶器数事，童子二人，为调茗之事。山树屋宇人物苔点，笔笔皆中锋，而用淡墨烘染，极其厚润。笔墨凝重守法，疑三十一岁所作，较骑驴归思图略先。 内容简介（中文）： 唐寅（西元一四七０－一五二三年），字伯虎，江苏吴县人，与沈周、文征明、仇英同被誉为明四大家。此图绘冬日文人读书品茶景象。寒林中草屋三楹，主人坐于案前读书，一僮蹲于屋角，煽火煮泉；侧屋几上置茶壶与茶瓯等，整体呈现文人悠閒的山居生活。〈品茶图〉为乾隆皇帝陈设于河北盘山静寄山庄「千尺雪」茶舍的壁上之珍，画上书有乾隆每次驻跸的题诗及「静寄山庄」钤印。 内容简介（英文）： T’ang Yin, a native of Soochow, was (along with Shen Chou, Wen Cheng-ming, and Ch’iu Ying) one of the Four Ming Masters. This work shows a scholar on a winter day studying and tasting tea. In a wintry forest, the host sits studying by a table in a thatched building. An attendant kneels in the corner and fans the flames in a stove to boil water. To the side is a table with a teapot and tea bowl, revealing the typical villa lifestyle of leisure among scholars. This work was treasured by the Ch’ien-lung Emperor (r. 1736-1795), who had it hung on the wall of his Thousand-foot Snow teahouse in Serene Lodging Villa at Mt. P’an, Hopeh. The work has the Serene Lodging Villa seal and inscribed poems of the emperor from each of his visits. 内容简介（英文）： 1500/T'ang Yin Sipping Tea/ Three thatched cottages inhabit a wintry grove. The host is sitting in front of his hut, while a servant boy brews tea in the corner. In the rearmost cottage various utensils for making tea are spread out, and two servants are occupied with blending the tea. The mountains, trees, architecture, figures, and dots of foliage are all painted with the brush held at right angles to the paper; the ink tones are bland and the washes applied in repeated layers, giving them a thick, saturated appearance. As the handling of brush and ink is heavy and rather stiff, “Sipping Tea” was probably painted in 1500, when T’ang Yin was 30 years old, slightly before he painted “Returning Home on a Donkey”. 内容简介（英文）： T’ang Yin (style name Tzu-wei, Po-hu, and sobriquet Liu-ju) was a native of Wu, which is today’s Soochow in Kiangsu Province. Of a forthright natural disposition, he was noted for his unrestrained, rather bohemian behavior. In 1498 he placed first in the provincial civil service examination in Nanking. T’ang Yin studied painting under Chou Ch’en, but far surpassed him, and became known as one of the Four Masters of the Ming. Inside a thatched hut set in the midst of a wintry grove, the master of the house directs a boy servant in the preparation of tea. At the rear of the house, several types of tea ware are spread out, and two boys are busily occupied with blending tea leaves. The mountains, trees, cottage and figures were all completed using the tip of the brush, then light wash was repeatedly applied, resulting in a thick, saturated appearance. 研究性论着： 廖宝秀，乾隆皇帝与春风茗台，《故宫文物月刊》，二八八期，二００七年三月
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