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【參考資料】 |
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收藏著錄 |
石渠寶笈續編（御書房），第四冊，頁1928
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁79
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收藏著錄 |
故宮書畫圖錄，第二冊，頁65-66
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內容簡介（中文） |
端午日，樹陰敞榭，曲橋池沼中荷花綻放。群嬰歡戲。扮戲、舞旗、摘荷、擊鈸、捉蜻蜓等等，其樂融融。人物描繪生動，地面上羅列各色玩具刻劃入微。主要內容俱以金線勾描，顯富麗裝飾性。蘇漢臣(約西元十二世紀)，河南開封人。曾任宣和畫院待詔，北宋亡於金後，南宋紹興年間又進畫院復職。師劉宗古，工畫道釋、人物臻妙，尤善嬰孩。
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內容簡介（英文） |
Su Han-ch'en was a native of K'ai-feng, Honan. He was employed as a Painter-in-Attendance at the Painting Academy during the Hsuan-ho reign of the Northern Sung. After the Northern Sung fell to Chin, he fled south and was reemployed in his old position at the Southern Sung court during the Shao-hsing reign (1131-1162). Su Han-ch'en studied with Liu Tsung-ku. He excelled as a figure painter, especially of religious subjects and children. Lotus flowers blossom in a pond by winding bridges and a pavilion in the shade of trees on the day of the Dragon Boat Festival. A group of children are at play, performing theatrical skits, dancing with pennants, picking lotus flowers, beating cymbals and chasing dragonflies. Their joy overflows. The figures are described with spirit and vitality, and the various toys arrayed on the ground are depicted with an eye for extraordinary detail. The important subjects are all given gold outlines, which gives the painting a luxurious, decorative quality.
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內容簡介（中文） |
春日庭院，胡床屏風，三位嬰兒據床觀賞瓶中游魚，兩位於草地上玩弄陀螺，旁有一嬰孩著紅衣，臉戴面具，高揚朱筆，另一嬰孩，背負幼兒，循階而下，前來相會。本幅色彩頗為古雅，線條細緻中亦不失靈活特色。蘇漢臣(約西元十二世紀)，河南開封人，曾任宣和畫院待詔，北宋亡於金後，南宋紹興年間又進畫院復職。師劉宗古，工畫道釋、人物臻妙，尤擅嬰孩。
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內容簡介（英文） |
Su Han-ch'en was a native of K'ai-feng, Honan. He was employed as a Painter-in-Attendance at the Painting Academy during the Hsuan-ho reign of the Northern Sung. After the Northern Sung fell to the Chin, he fled south and was reemployed in his old position at the Southern Sung court during the Shao-hsing reign (1131-1162). Su Han-ch'en studied with Liu Tsung-ku. He excelled as a figure painter, especially of religious subjects and children. A lounge (ho bed) and screen are seen in the garden on a spring day. Three children stand upon the lounge to catch the fish swimming in glass vases. Two others are playing with tops. Another, wearing red clothes and a mask of Chung K'uei, the Demon Queller, raises a red writing brush. Yet another child descends to meet the group, carrying a baby on his back. The colors are antique and the brush lines are very fine. The painting is infused with an enchanting liveliness.
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