| 【類別】 | 【參考資料】 |
|
收藏著錄
|
石渠寶笈續編（養心殿），第二冊，頁929
|
|
收藏著錄
|
故宮書畫錄（卷五），第三冊，頁65
|
|
收藏著錄
|
故宮書畫圖錄，第一冊，頁297-298
|
|
參考書目
|
1.陳階晉，〈宋徽宗文會圖〉，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88-89。
2.〈宋徽宗文會圖〉，收入國立故宮博物院編輯委員會編，《園林名畫特展圖錄》（臺北：國立故宮博物院，1987年十月初版），頁69-70。
3.陳韻如，〈宋徽宗文會圖 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156-163。
4.陳階晉，〈文會圖〉，收入林柏亭主編，《國寶菁華 — 書畫‧圖書文獻篇》（臺北：國立故宮博物院，2006年12月），頁199。
5.本社，〈宋徽宗文會圖〉，《故宮文物月刊》，第79期（1989年10月），頁1。
6.楊元錚，〈談耿昭忠與安岐的兩方"珍祕"印〉，《故宮博物院院刊》，總第141期(2009年第1期)，頁60-63。
7.邱士華，〈宋徽宗文會圖〉，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272。
|
|
參考書目
|
劉芳如，〈宋徽宗文會圖 軸〉，收入《國寶的形成-書畫菁華特展》（臺北：國立故宮博物院，2017.10），頁76-81、306。
|
|
參考書目
|
國立故宮博物院編輯委員會，〈宋徽宗文會圖 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁88-89。
|
|
內容簡介（中文）
|
宋徽宗（1082-1135），姓趙名佶，性好書畫，秉賦極高。山水花鳥人物莫不筆墨挺秀，雅韻宜人，書號瘦金體，筆勢勁逸。 畫園池岸邊，竹樹掩映，中設大案，坐飲者八人，一人立執檀板，二人樹下立談，侍者九人，皆神情雅俊，衣褶挺勁生動。竹樹俱用雙鉤，筆筆細勁，如鋼針鑴鐵，必盡全力。通幅筆跡繁細，千絲萬縷，而無一懈筆，蓋極精妙之能事矣。
|
|
內容簡介（中文）
|
宋徽宗（西元1082-1135年），姓趙名佶，性好書畫，秉賦極高。山水花鳥人物莫不筆墨挺秀，雅韻宜人。 本幅描繪池邊大樹下，一群文士正據案飲宴。前方有僮僕在一小桌上備茶，其中一人手持長柄匙自茶罐舀取茶末，沿用的是唐末以來盛行的「點茶法」。人物皆神情雅俊，衣褶挺勁生動。竹樹俱用雙鈎，筆筆細勁，如鋼針鑴鐵，必盡全力。通幅筆跡繁細，千絲萬縷，而無一懈筆，蓋極精妙之能事矣。 此畫庭台器具描繪得極為華美，有別於五代時文會圖簡單的背景，北宋的文會圖係置於完備的花園場景之中，由此也反映出北宋園林的發達。此圖右上雖有徽宗題詩，左中有他的畫押，左上另有蔡京題詩，但俱屬可疑，應是畫院中名手之作。
|
|
內容簡介（中文）
|
雖然不是徽宗皇帝親筆所畫，但此畫右上方有他的題詩，左方對稱的則是寵臣蔡京的和詩，內容提及唐太宗與十八學士的故實，意在稱頌當時朝中人才之盛，文治更過盛唐。這是徽宗親自指導下的畫院產品。 畫中於庭院置大桌，有文士圍坐，描繪精工細緻，與其他徽宗畫院作品如出一轍。桌上滿置之華麗器皿與裝飾，讓人想見宮中宴集景象。以宮苑為舞台，邀請觀眾欣賞的表現圖式，亦見於〈八達春遊〉，是一創新手法，影響後世深遠。(20061206)
|
|
內容簡介（英文）
|
Even though this is not a work personally brushed by Emperor Hui-tsung, it still bears his inscription of poetry in the upper right, complemented on the left by a poem in harmony by his favored official Ts'ai Ching. The contents mention the story of the T'ang emperor T'ai-tsung and the Eighteen Scholars, the intention being to extol the magnificence of the literary talents gathered under Hui-tsung and how his administration surpassed that of even the High T'ang. As such, this work is a product of the Painting Academy under the personal direction of Emperor Hui-tsung. Placed in a courtyard setting is a large table around which are seated scholars. The rendering is quite precise and refined, correlating exactly with other works of Hui-tsung's Painting Academy. The table is covered with beautiful utensils and decorative objects, providing the viewer with an intimate glimpse at what a court banquet must have looked like. As seen here, the use of a palace garden as a stage in painting can also be found in “Eight Princes on a Spring Excursion”. This form of expression was innovative for its time and had a major impact on later painting.(20061206)
|
|
內容簡介（英文）
|
This work represents scholars gathered for a feast at a table under large trees by a pond. In front are servants at a small table preparing tea; one of them holds a long-handled spoon and scoops ground tea leaves in the custom of tea drinking popular since the T’ang dynasty(618-907). The modeling of gentlemen’s expressions and the rendering of their garments are quite convincing. The bamboo and trees were painted using the double outline method (shuang-kou). Each stroke was carefully brushed with surety and strength, like strands of iron. The setting here is extravagant, differing from the simplicity of literary gatherings in the Five Dynasties. In the Northern Sung, garden settings sere elaborate, reflecting developments at the time. Although Emperor Hui-tsung’s poem is in the upper right(with his signature at the left) and an inscription by prime minister Ts’ai Ching in the upper left, they appear dubious. Yet, it still appears to have been done by a famous court painter.
|
|
網頁展示說明
|
池邊大樹下，一群文士正據案飲宴。前方有僮僕在一小桌上備茶，其中一人手持長柄匙自茶罐舀取茶末，呈現唐末以來盛行的「點茶法」。人物皆神情雅俊，衣褶挺勁生動。竹樹俱用雙鉤，筆筆細勁，如鋼針鑴鐵，必盡全力。通幅筆跡繁細，千絲萬縷，而無一懈筆，極精妙之能事。
此圖右上雖有宋徽宗（1082－1135）的題詩，左中有他的畫押，左上另有蔡京題詩，但俱屬可疑，可能是徽宗畫院名手之作。
(20110913)
|
|
網頁展示說明
|
In this painting appears a group of scholars in the middle of a banquet by a pond and under large trees. In front are attendants preparing tea at a small table, and one of them holds a long spoon to scoop ground tea from a jar, representing the custom of “whisking tea” popular from the late Tang dynasty. The figures are all spirited and elegant, the drapery lines of the clothes strong and animated. The bamboo and tree forms are done with outlines, each brush stroke fine yet forceful, like steel needles and engraved iron. The brushwork throughout this work is fine and complex, appearing like myriad strands of silk woven together. Without a single careless stroke, it is an exceptionally marvelous undertaking.
Despite the presence of a poem inscribed by Emperor Huizong (1082-1135) in the upper right (with his cipher to the left) and another poem by Cai Jing in the upper left, there is still some doubt as to whether they are authentic. Perhaps this painting came from the hand of a famous artist at Huizong’s Painting Academy.
(20110913)
|