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【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁29-30
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收藏著錄 |
故宮書畫圖錄，第一冊，頁117-118
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內容簡介（中文） |
黃筌（約西元九O三—九六五年），事前蜀後主為待詔。黃筌傳世作品以花鳥最多，山水頗少見。此幅圖寫韓愈深明愛子之道，唯教以讀書之事。書法甚奇，沈周與董其昌之跋俱偽，以筆墨論，似為明代作品。
畫中有案面兩頭翹起，兩足為豎條組成的板式足，足下安托子，保留隋唐以來直柵足跗的遺意。坐榻體大厚重，足下有托泥，形成箱形榻體亦以壺門裝飾。榻之三面以畫屏裝飾，屏風上繪墨竹。屋旁置有三層圓腿書籍架格。
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內容簡介（英文） |
Huang Ch'uan was a Painter-in-Attendance at the court of the Former Shu. Most of the surviving works attributed to him are birds-and-flowers, with landscapes exceptionally rare. This painting depicts Han Yu engaged in his favorite method of showing his love for his children--teaching them to do textual exegesis. Executed in an unusual style, this work bears false Ming (1368-1644) inscriptions by Shen Chou and Tung Ch'i-ch'ang. However, based on the use of brush and ink, it appears to date to the Ming dynasty.
Depicted in this painting is a table with everted flanges and legs made from panels of wood. Stabilizer bars provide further support. This style follows in the post-T'ang tradition of vertical rods for legs. The box-shaped platform is large and heavy with ground stretchers and cusped openings. Three sides of the platform are decorated with low screen paintings depicting bamboo in monochrome ink, and next to the building is a three-level book rack with round legs.
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內容簡介（中文） |
唐代韓愈為勉勵兒子韓符勤奮向學，作〈符讀書城南〉詩。詩中強調人之能為人，正因有學問，而學問唯靠勤勞獲得；且人年幼時雖相彷彿，漸長時卻因勤學與否而生殊異。此幅即圖寫韓愈深明愛子之道，教子以讀書之事。
本幅傳稱黃筌（約西元九O三—九六五年）作。黃筌為五代前蜀後主待詔，作品多為花鳥，山水少見。本幅以筆墨論，或為明代作品。畫上沈周與董其昌跋俱偽。(20091016)
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內容簡介（英文） |
Han Yu (768-824) of the Tang dynasty composed the poem “Fu’s Studies at Chengnan” to encourage his son, Han Fu, to study hard. The poem emphasizes that what makes a person is the ability to study texts, and such learning is only acquired through diligent practice. And though children grow up more or less the same, what makes some stand out is their diligence in study. This work depicts Han Yu’s great love for his child as he teaches him how to study, and it is attributed to Huang Quan (a Painter-in-Attendance at court who mostly did bird-and-flower subjects but few landscapes). The forms are outlined in brush and ink in what is probably a Ming (1368-1644) work. The Ming colophons by Shen Zhou and Dong Qichang here are also spurious.(20091016)
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參考書目 |
〈五代後蜀黃筌勘書圖 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14-15、109。
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