| 文物統一編號 |
故畫000176N000000000
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| 作品號 |
故畫00017600000 |
| 品名 |
宋人梧陰清暇圖 軸
Enjoying the Shade of a Pawlonia Tree |
| 分類 |
繪畫 |
| 數量 |
一軸 |
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
朱棡 |
晉府書畫 |
| 收傳印記 |
朱棡 |
晉府圖書 |
| 收傳印記 |
朱棡 |
清和珍玩 |
| 收傳印記 |
朱棡 |
敬德堂圖書 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 鑑藏寶璽 |
清內府印 |
宜子孫 |
| 鑑藏寶璽 |
宣統帝 |
宣統御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆鑑賞 |
| 鑑藏寶璽 |
清高宗 |
御書房鑑藏寶 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
人物 |
侍從（侍女、童僕） |
|
| 主要主題 |
人物 |
高士（士人、隱士） |
|
| 次要主題 |
樹木 |
梧桐 |
|
| 其他主題 |
山水 |
奇石 |
|
| 其他主題 |
花草 |
|
|
| 其他主題 |
建築 |
庭院 |
|
| 其他主題 |
建築 |
欄杆 |
|
| 其他主題 |
器用 |
文房用具 |
|
| 其他主題 |
器用 |
文玩（琴棋書畫） |
|
| 其他主題 |
器用 |
投壺 |
|
| 其他主題 |
器用 |
扇 |
扇、帳扇 |
| 其他主題 |
器用 |
傢俱（屏風） |
桌、椅、坐榻、屏風 |
| 其他主題 |
器用 |
飲食器 |
|
| 其他主題 |
樹木 |
松 |
|
| 技法 |
技法細目 |
| 人物衣紋描法(勻稱線條) |
|
| 人物衣紋描法(減筆) |
|
| 工筆 |
|
| 界畫 |
|
| 苔點 |
|
| 皴法 |
|
| 類別 |
參考資料 |
| 內容簡介 |
庭園之中，几榻紛列，髯者數人。或罷讀閒談，或剔牙相對，或倚桐觀畫。經與劉松年十八學士圖卷相較，蓋與此幅同出一稿，此即其中第一段。按所題姓名，則剔牙者為蔡允恭，對書者為蘇世長，倚桐觀畫，背面無鬚者許敬宗，正面有鬚者褚亮也。本幅用筆細勁，凡几榻彝鼎諸器物，細鈎紋縷，極繁縟之能事。
|
| 內容簡介 |
庭園之中，几榻紛列，髯者數人。或罷讀閒談，或剔牙相對，或倚桐觀畫。無款印。按此畫類似劉松年十八學士圖卷中之第一段。以所題姓名，則剔牙者為蔡允恭，對書者為蘇世長，倚桐觀畫，背面無鬚者許敬宗，正面有鬚者褚亮也。本幅用筆細勁，人物衣褶與彝鼎諸器物，細鈎紋縷，極繁縟之能事。而几榻、屏風、欄檻界畫甚為精謹。全幅用筆用界，渾然一片，相融無間。
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| 內容簡介 |
庭園之中，几榻紛列，髯者數人。或罷讀閒談，或剔牙相對，或倚桐看畫。此圖與劉松年唐十八學士圖前段相同，原本應為長卷構圖。束腰黑漆描金畫桌腿足截面作矩尺形，殘留壺門牙腳的痕跡，為免結構容易搖幌足端裝有托泥。中央人物所坐竹製靠背條椅，搭腦出頭，坐面下腿足為雲頭紋曲形足帶托泥，與前方開光圓凳同採竹材。另一龜背紋藤方凳，傳世實物極少見。花腿桌腿足間聯結構件有羅鍋棖，擺脫宋直棖基本形式，著重裝飾作用，能承重又能加強四腿的牢固，為明代風格。
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| 內容簡介 |
庭園桐樹下，桌案陳設畫幅正中，山水屏風列於其後。文士四人，有的罷讀閒談、剔牙相對，有的倚靠於樹下觀賞畫卷。另有僕侍三人，分作手執宮扇、整理巾服及削瓜果狀。經與院藏《宋劉松年十八學士圖》卷相較，人物布景均同，可知出於同稿，此即其中第一段。按所題姓名，則剔牙者為蔡允恭，對書者為蘇世長，倚桐觀畫，背面無鬚者許敬宗，正面有鬚者褚亮。按四人皆為唐秦府十八學士中人。自唐閻立本受命畫「秦府十八學士圖」以來，該圖即為歷代畫家競相仿效的題材。唐時似以個人立身肖像的形式為主，宋代開始出現了以琴、棋、書、畫、品茗、賞古、清談等形式，以表達文人生活雅趣之象徵。這種情節鋪敘方式，同時也為元、明時代所傳承延續。本幅用筆線條簡練，主題突出，人物相貌姿態各異，神情鮮明。但筆墨之精練略不如原圖，當為後人摹本。（陳階晉）
|
| Description |
In this garden setting are figures and furniture, including chairs, stools, screens, platforms, and tables. The scholars here are taking a break from their studies to chat, pick their teeth, and sit under a pawlonia tree to look at works. This painting corresponds to the first part of "Eighteen Scholars of the T'ang"by Liu Sung-nien (fl. ca. 1174-1224), indicating that this may have been based on his handscroll. The black-lacquered, waisted table is decorated with gold and the legs have short vertical and horizontal braces at the corners--remnants of cusped openings. However, in order to prevent the table from wobbling, horizontal stretchers still run along the ground between the thin legs. The low-backed, long bamboo bench upon which the central figure sits has projecting rails and decorative, cloud-shaped legs. Its style appears to be the same as that of the round stool in front of the table. The rectangular stool on the right made of bound wicker in the shape of tortoise shells is rare. The table with floral legs to the left has a high mid-section and curved ("humpbacked") stretchers. This curved brace is a departure from the straight ones of Sung furniture. It not only adds a decorative touch, but also strengthens and stabilizes the table--being characteristic of Ming (1368-1644) furniture, instead.
|
| Description |
Tables are set up in a garden. Several bearded men are relaxing in the shade of a tree. A gentleman stops reading a book and converses with a friend, who faces his companion, ;picking his teeth. At the lower left corner, a figure leans against the firmiana tree and talks with a companion who holds a bunch of scrolls. The painting is not signed. The composition of theis work is exactly the same as the first section of Liu Sung-nien's handscroll, The Eighteen Scholars. According to the document, the man who is picking his teeth is T'sai Yun-kung. The man reading the book is Su Shih-chang. The beardless man who leans against the firmiana tree with his back to the viewer is Hsu Ching-tsung. The bearded man facing the viewer is Ch'u Liang. The brushwork is refined, yet full of vitality. Figures, drapery, and bronze ware are depicted in detailed lines. Tables, screen, and balustrades are rendered in a delicate, exacting ruled-line painting style. The brush and ruler are handled harmoniously in a unified manner.
|
| Description |
Tables and couches are set about in a garden. A group of scholars are assembled. Some have ceased studying and are talking at leisure, one is picking his teeth, and another is leaning against the tree looking at paintings. In comparing this painting with The Eighteen Scholars, a handscroll by Liu Sung-nien (fl. 1174-1224), the compositions are identical : At Leisure in the Shade of a Wu-t'ung Tree is but one section of the composition. According to the names inscribed on Liu Sung-nien's handscroll, the scholar picking his teeth is Ts'ai Yun-kung, the scholar collating texts is Su Shih-ch'ang, and the scholar leaning against the tree looking at paintings is HsuChing-tsung. The bearded scholar, depicted en face, is Ch'u Liang. The use of the brush is fine and strong. Tables, couches, bronzes and miscellaneous objects are meticulously outlined and ornamented.
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| 收藏著錄 |
石渠寶笈初編（御書房），下冊，頁1151
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| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁137
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| 收藏著錄 |
故宮書畫圖錄，第三冊，頁67-68
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| 參考書目 |
1.林莉娜，〈宋人梧陰清暇〉，收入國立故宮博物院編輯委員會編，《畫中家具圖錄》（臺北：國立故宮博物院，1986年初版），頁59。
2.陳階晉，〈「天子之寶 — 台北國立故宮博物院的收藏」展品系列(四) — 繪畫〉，《故宮文物月刊》，第247期（2003年10月），頁46。
|
| 參考書目 |
〈宋人梧陰清暇圖 軸〉，收入國立故宮博物院編輯委員會、林莉娜主編《畫中家具特展》（臺北：國立故宮博物院，1996.10），頁48-49、118-119。
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本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理
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