| 【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13-14
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收藏著錄
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故宮書畫圖錄，第一冊，頁49-50
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參考書目
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1.林柏亭，〈五代梁趙喦八達春遊圖〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁52-53。
2.王耀庭，〈五代梁趙喦八達春遊圖 軸〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁152-155。
3.〈五代趙喦八達春遊〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁200。
4.林柏亭、張華芝，〈五代梁趙喦八達春遊〉，收入林柏亭、張華芝編，《畫馬名品特展圖錄》（臺北：國立故宮博物院，1990年元月初版），頁84-85。
5.本社，〈後梁趙嵓八達春遊〉，《故宮文物月刊》，第14期（1984年5月），封底。
6.林柏亭，〈書畫菁華特展 — 趙喦八達春遊圖〉，《故宮文物月刊》，第163期（1996年10月），頁34-35。
7.邱士華，〈〈八達春遊〉的斷代問題〉，《故宮文物月刊》，第298期（2008年1月），頁72-81。
8.邱士華，〈五代梁趙喦八達春遊圖〉，收入蔡玫芬主編，《精彩一百 國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁242。
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參考書目
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國立故宮博物院編輯委員會，〈五代梁趙喦八達春遊圖 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁52-53。
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內容簡介（中文）
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趙喦（西元十世紀上半葉），梁太祖之駙馬，擅畫人物鞍馬。本幅畫八名貴族男士，騎駿馬出遊，園中草木呈新綠之色，馬匹踏著輕步，表現出春遊的愉悅氣氛。本畫人馬、樹石筆調之精緻細膩，超過唐與五代之作，似北宋人的風貌，但它又保存了部分唐畫之意，如主題放置於畫面中央，前、中、遠景採取層層而上的方式，來代表深度空間。此外，背景庭園中之巨型太湖石也是出現在古畫中極早之例。
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內容簡介（中文）
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趙喦（十世紀前半），梁太祖之駙馬，擅畫人物鞍馬。本幅畫八名貴族男士，騎駿馬出遊，園中草木呈新綠之色，馬匹踏著輕步，表現出春遊的愉悅氣氛。本畫人馬、樹石筆調之精緻細膩，超過唐與五代之作，似北宋人的風貌，但它又保存了部分唐畫之意，如主題放置於畫面中央，前、中、遠景採取層層而上的方式，來代表深度空間。此外，背景庭園中之巨型太湖石也是出現在古畫中極早之例。(20061206)
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內容簡介（英文）
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Chao Yen, son-in-law of the Liang emperor T'ai-tsu, specialized in painting figures and saddled horses. Shown here are eight nobles riding steeds. The grass in this garden scene appears fresh and green as the horses gallop lightly along, suggesting a carefree spring outing. The brushwork of the figures, horses, trees, and rocks is even more delicate and refined than that of the T'ang dynasty or Five Dynasties period. In fact, it is closer to that of the Northern Sung, while also preserving elements of the T'ang style, such as the subject appearing in the middle of the composition and the separation of fore-, middle-, and background into sections to suggest space. Furthermore, this painting represents a very early appearance of a large Lake T'ai ornamental rock, shown in the background of this garden.(20061206)
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內容簡介（英文）
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Chao Yen, son-in-law of the Liang emperor T'ai-tsu, specialized in painting figures and horses. Shown here are eight nobles on steeds. The garden grass appears fresh and green as the horses gallop lightly, suggesting a carefree spring outing. The brushwork here is even more delicate and refined than that of the T'ang or Five Dynasties. It is closer to that of the Northern Sung (960-1126), yet it also preserves elements of the T'ang style, including the subject appearing in the middle of the composition and the separation of fore-, middle-, and backgrounds into sections to suggest space. Furthermore, this painting represents a very early appearance of a large Lake T'ai ornamental rock, shown in the background of the garden.
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網頁展示說明
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本幅以精緻而細膩的筆調，描繪騎著駿馬的八名達官顯貴，神采奕奕地在宮苑中遊春的情狀。園中裝飾著碩大的太湖石、複雜華麗的欄杆，處處流露富貴的氣息，顯示這件畫作可能為宮廷所作。
此作舊傳為五代趙喦（西元10世紀上半）所繪。趙喦是梁太祖朱溫的駙馬，擅畫人物鞍馬。然畫中的空間處理手法，尚不及徽宗朝畫院作品〈文會圖〉成熟，推測可能為十一世紀前、中期的稀有珍品。(20110913)
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網頁展示說明
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This painting, done with delicate and exquisite touches of the brush, renders eight noble figures riding on steeds in a scene of radiant vitality in a palace garden. A large ornamental rock decorates the garden, and the complex yet gorgeous railing reveals an atmosphere of noble and elegant beauty, suggesting that this work was perhaps done for the court.
The artist to whom this work is traditionally attributed is Zhao Yan of the Five Dynasties period. Zhao Yan, the son-in-law of Zhu Wen (Emperor Taizu of the Liang), specialized in painting saddled horses. The treatment of space in the hanging scroll here is not as mature as that seen later in “Literary Gathering,” a work of the Painting Academy at the court of Emperor Huizong. Thus, it would suggest that this painting is a rare and precious example from the early or middle eleventh century.
(20110913)
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