| 【類別】 | 【參考資料】 |
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收藏著錄
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故宮書畫錄﹝卷五﹞，第三冊，頁294
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收藏著錄
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故宮書畫圖錄，第六冊，頁99-100
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參考書目
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1.〈明戴進春遊晚歸〉，收入陳階晉、賴毓芝主編，《追索浙派》（臺北：國立故宮博物院，2008年初版一刷），頁168。
2.〈明戴進春遊晚歸〉，收入國立故宮博物院編輯委員會編，《春景山水畫特展圖錄》（臺北：國立故宮博物院，1987年一月初版），頁49。
3.〈明仇英春遊晚歸〉，收入國立故宮博物院編輯委員會編，《春景山水畫特展圖錄》（臺北：國立故宮博物院，1987年一月初版），頁50。
4.本社，〈明戴進春遊晚歸〉，《故宮文物月刊》，第37期（1986年4月），封底。
5.晉介塵，〈「戴進作品展」導讀 — 戴進春遊晚歸〉，《故宮文物月刊》，第209期（2000年8月），頁85-86。
6.李霖燦，〈山水畫中點景人物的斷代研究〉，《故宮季刊》，第十三卷第二期（1978年冬），頁25-40。
7.廖堯震，〈我不在宮廷，就在跑路〉，《典藏古美術》，第216期(2010年9月)，頁138-141。
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參考書目
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許文美、劉芳如，〈明戴進春遊晚歸 軸〉，收入《明四大家特展-仇英》（臺北：國立故宮博物院，2014.10），頁214-217、335。
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內容簡介（中文）
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戴進（1388－1462），浙江錢塘人。字文進，號靜庵，又號玉泉山人。畫風承襲南宋馬夏與元朝李郭派傳統，樹立明代浙派山水的風格。
本幅繪田野小徑，農人荷鋤返家，時天色已晚。左下庭院前，士人敲門，僕役提燈來應，顯示春遊主人「晚歸」的詩意。戴進此作雖以南宋馬遠、夏珪風格為基，但用筆大膽，更加強調筆墨豐富的效果，繪畫技法功力深厚，筆墨靈活且變化多端，是戴進傳世的代表佳作。
(20110913)
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內容簡介（中文）
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本幅繪田野小徑，農人荷鋤返家，時天色已晚。左下前景，畫一座庭院，伸牆枝椏、路旁桃花，皆呈「春日」氣息。士人敲門，院中僕役提燈來應，顯示春遊主人「晚歸」的詩意。 戴進此作雖以南宋馬遠、夏珪風格為基，但用筆大膽，更加強調筆墨豐富的效果，繪畫的技法功力深厚，筆墨顯得靈活而變化多端，為呈現戴進風格的代表作。
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內容簡介（英文）
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Depicted here is an expanse of water with a small path upon which farmers shoulder hoes and return home. Judging from the darkness of the scene, it appears late in the day. In the lower right corner is a wall surrounding a residence blocked from view. The greenery and peach blossoms indicate the season as spring. A scholar knocks at the door as a servant approaches holding a light, indicating the poetic notion of the master returning late from a spring outing. Although Tai Chin based the style here on those of Ma Yuan and Hsia Kuei in the Southern Sung (1127-1279), his daring brushwork emphasizes expressive qualities for an impressive style that is spirited and varied. This is a representative example.
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內容簡介（英文）
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Dai Jin (style name Wenjin; sobriquets Jing’an, Yuquan shanren) was a native of Qiantang in Zhejiang. His painting style followed in the tradition of Ma Yuan and Xia Gui from the Southern Song and the Li Cheng and Guo Xi (Li-Guo) School as practiced in the Yuan dynasty, establishing the landscape manner of the Zhe School in the Ming dynasty.
This painting depicts a farmer with a hoe over his shoulder returning home on a small path in the fields, the hue of the skies indicating it is late in the day. In front of a courtyard in the lower right is a scholar knocking on the door and an attendant coming out to receive him, suggesting the poetic theme of a master “returning late” from a “spring outing.” Although Dai Jin has based this work on the styles of Ma Yuan and Xia Gui from the Southern Song, the brushwork is bolder, further emphasizing the effect of rich brushwork and ink. The skill in painting is solid and the use of brush and ink spirited and varied, making this an excellent representative of Dai Jin among his surviving works.
(20110913)
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