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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續編（養心殿），第二冊，頁945
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收藏著錄 |
故宮書畫錄（卷四），第二冊，頁26
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收藏著錄 |
故宮書畫圖錄，第十五冊，頁295-300
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參考書目 |
1.劉芳如，〈宋李公麟畫麗人行 卷〉，收入國立故宮博物院編輯委員會主編《文學名著與美術特展》（臺北：國立故宮博物院，2001.10），頁34-35、125-127。
2.〈宋李公麟麗人行〉，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221。
3.劉芳如，〈宋李公麟畫麗人行〉，收入國立故宮博物院編輯委員會編，《仕女畫之美》（臺北：國立故宮博物院，1988年四月初版），頁77。
4.林柏亭、張華芝，〈宋李公麟麗人行〉，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86。
5.陳桂雲，〈宋李公麟麗人行卷〉，《故宮文物月刊》，第36期（1986年3月），頁1。
6.許天治，〈感通乎 變奏乎 描繪乎 — 摭談「麗人行」與「虢國夫人遊春圖」〉，《故宮文物月刊》，第46期（1987年1月），頁84-94。
7.吳同，〈章宗題天水摹張萱虢國夫人遊春圖〉，《中華民國建國八十年中國藝術文物討論會論文集 書畫(上)》（臺北：國立故宮博物院，1992），頁1-11。
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內容簡介（中文） |
這幅畫，是根據杜甫（西元七一二-七七○年）所寫的樂府古詩「麗人行」而訂名。內容描寫楊貴妃的姊姊虢國夫人等一行共九人，在初春時節騎馬出遊的情景。北宋末年，畫院曾有「摹張萱虢國夫人遊春圖」，與本畫的構圖十分近似，後人可能因為李公麟（一○四九-一一○六）擅長人馬題材，就認定「麗人行」是他的仿古作品。實際上，此畫完成的時間，應當在南宋以後。
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內容簡介（英文） |
This work is based on the archaic verse “Beauties on an Outing” by Tu Fu (711-770), who described therein the opulent beauty of the noble ladies of Ch’in, Han, and Kuo (the latter being the elder sister of the famous Yang Kuei-fei). Nine figures are shown here on an excursion on horseback in early spring. The plump ladies and muscular horses as well as the clothing, hairstyles, and coloring all suggest the style of T'ang (618-907) culture and painting. A late Northern Sung (960-1126) copy of a T'ang rendition of this subject is similar in composition to this one. Later connoisseurs, perhaps because Li Kung-lin was said to specialize in figures and horses, attributed it as a copy done by him. Actually, this work was completed probably some time after the Southern Sung period (1127-1279).
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內容簡介（中文） |
本幅根據杜甫〈麗人行〉一詩，描繪秦、韓、虢三國夫人出遊的景象。女子體態豐腴，額鼻皆留白。馬匹肥壯，縱轡徐行，優遊閒適。全作之人馬造型、髮髻衣飾、設色畫法，皆有唐風。北宋末年畫院曾作〈摹張萱虢國夫人遊春圖〉，構圖與本畫十分近似。本幅無作者款印，後人或因李公麟（1049－1106）擅畫人馬，便傳稱此作出自李公麟之手，但從畫風來看，此畫完成的時間當在南宋以後。(20110913)
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內容簡介（英文） |
This work is based on the poem “Beauties on an Outing” by the famous Tang poet Du Fu, who described therein the opulent beauty of noble ladies from the states of Qin, Han, and Guo. The figures of the ladies here are plump and their faces done with white makeup. The horses are muscular as the ladies proceed on horseback in a leisurely and carefree manner. In fact, all the figures and horses, as well as the clothing, hairstyles, and coloring method, are in the Tang dynasty style. A late Northern Song copy of a Tang rendition on this subject by the Painting Academy (“Copy of Zhang Xuan’s ‘Spring Outing of Lady Guo’”) is very similar in composition to this painting. Though this work bears no seal or signature of the artist, later connoisseurs attributed it as coming from the hand of Li Gonglin (perhaps because he specialized in figures and horses). However, judging from the style here, it was completed probably sometime after the Southern Song period.(20110913)
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參考書目 |
何炎泉，〈宋李公麟畫麗人行 卷〉，收入劉芳如主編《她-女性形象與才藝》（臺北：國立故宮博物院，2020.10），頁36-41、248-249。
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