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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈三編（延春閣），第四冊，頁1865
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁351
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收藏著錄 |
故宮書畫圖錄，第七冊，頁19-20
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參考書目 |
1.劉芳如，〈明唐寅畫班姬團扇〉，收入國立故宮博物院編輯委員會編，《明中葉人物畫四家特展－杜菫、周臣、唐寅、仇英》（臺北：國立故宮博物院，2000年初版），頁150-152。
2.江兆申，〈唐寅班姬團扇 軸〉，收入國立故宮博物院編，《吳派畫九十年展》（臺北：國立故宮博物院，1975年初版，1976年再版，1981年三版），頁303。
3.劉芳如，〈唐寅班姬團扇〉，收入劉芳如、張華芝主編，《群芳譜 — 女性的形象與才藝》（臺北：國立故宮博物院，2003年初版一刷），頁64- 65。
4.劉芳如，〈明唐寅畫班姬團扇〉，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83-84。
5.馮幼衡，〈唐寅仕女畫的類型與意涵 — 江南第一風流才子的曠古沉哀〉，《故宮學術季刊》，第二十二卷第三期（2005年春），頁55-90。
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內容簡介（中文） |
本幅取材自漢班婕妤的〈怨歌行〉：「常恐秋節至，涼飆奪炎熱，棄捐篋笥中，恩情中道絕。」櫚樹下，班姬持扇佇立，庭前復植有蜀葵，點出夏末時令。 幅中畫花用沒骨法、仕女臉部的三白法，均與杜菫「玩古圖」極近，據此可觀測唐寅的風格源流。另外，由畫上方文徵明題識的書體研判，應為文氏四十歲後所作。文與唐同年，故本幅可定為唐寅此際（一五○九頃）的作品。
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內容簡介（英文） |
The subject here is Lady Pan Chieh-yu, once the favored consort of Emperor Ch'eng (r. 33-8BC) but supplanted by the affections of another. In lament, she compared her fall from favor to the neglect of a fan put away into storage with the arrival of autumn. She stands by coir palm trees holding a fan. The hollyhock in front signals the end of summer. The "boneless" ink wash flower painting and white makeup of the lady are similar to those of Tu Chin's Enjoying Antiquities, from which T'ang's style here derived. Furthermore, the style of Wen Cheng-ming's inscription in the upper right belongs to the period after the age of 39. Since Wen and T'ang were born in the same year, this painting was probably done sometime after 1509.
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內容簡介（中文） |
唐寅（西元一四七０－一五二三年）江蘇吳縣人。字子畏，一字伯虎，號六如。天資穎異，性格瀟灑不羈，自命為江南第一風流才子。山水、人物、花鳥無所不精，畫師周臣，而有出藍之譽。椶閭下班姬持扇，下畫葵花點秋令。按漢班婕妤有怨歌行，末云：「常恐秋節至，涼颼奪炎熱，棄捐篋笥中，恩情中道絕」。蓋有所託而云然也。標題班姬團扇，實誤，案班姬為班昭（曹大家）而非班婕妤。
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內容簡介（英文） |
T’ang Yin (style names Tzu-wei and Po-hu; sobriquet Liu-ju) was a native of Wu-hsien, Kiangsu. One of the foremost and boldest artistic geniuses of the Kiangnan region, he studied with, and eventually surpassed, his teacher Chou Ch’en. T’ang Yin excelled in many subjects, including landscapes, figures, and birds-and-flowers. The blossoming hollyhocks in this garden courtyard bespeak the coming of autumn. Beneath a coir palm stands Lady Pan Chieh-Yu, holding a fan. She was once the favored consort of Emperor Ch’eng (r.33-8 B.C.) of the Western Han but was supplanted in his affections by another. She thereupon wrote a lament, comparing her fall to that of a fan placed in storage at the end of summer; Ever fearing the approach of autumn, The shimmering heat of summer is snatched away by the brisk winds. [Like a fan] Abandoned and cast into a chest, Gentle affections have all but vanished. The title of the painting is actually a slight misnomer, for the name Lady Pan (Pan Chi) usually refers to the Han historian Pan Chao, not Pan Chieh-yu.
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內容簡介（中文） |
椶櫚下班姬持扇，下畫葵花點秋令。按漢班婕妤有怨歌行，末云：「常恐秋節至，涼颷奪炎熱，棄捐篋笥中，恩情中道絕」。蓋有所託而云然也。軸上有祝允明、文徵明、王榖祥三題。文徵明字，與他書皆不類，微近三十九歲書落花詩筆意，惟落花詩署名尚用文壁耳。相傳徵明四十歲使用「徵明」署書畫，四十歲前用「文壁」，故此幀定為唐寅四十歲之作。文唐兩人，本同年生。
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內容簡介（英文） |
A lady stands holding a fan beneath a grove of coir-palms. Below her is a camellia bush, indicating the autumn season. Pan Chieh-yu was a concubine of the Han Emperor in the 1st century B.C.; when she lost favor with him she sent him a fan inscribed with this poem: I always fear the coming of autumn, When cool winds replace the summer’s heat, And (the fan) lies neglected in a trunk, All thoughts of bygone days, like them, bygone. This incident provided the subject for T’ang Yin’s painting. On the scroll are inscriptions by Chu Yun-ming, Wen Cheng-ming, and Wang Ku-hsiang. The calligraphy in Wen’s inscription is unlike his usual style. It is slightly similar to his “Poems on Falling Flowers”, written when he was 38 (in 1508), although the latter is signed “Wen Pi”. So far as we know, he did not begin to sign himself “Cheng-ming” until his 39th year. Thus “Lady Pan” could not have been painted before 1509, when T’ang Yin and Wen Cheng-ming were both 39 years old.
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網頁展示說明 |
本幅取材自漢班婕妤的〈怨歌行〉：「常恐秋節至，涼飆奪炎熱，棄捐篋笥中，恩情中道絕。」櫚樹下，班姬持扇佇立，庭前復植有蜀葵，點出夏末時令。 幅中畫花用沒骨法、仕女臉部的三白法，均與杜菫〈玩古圖〉極近，據此可追索唐寅的風格源流。另外，由畫上方文徵明題識的書體研判，應為文氏四十歲後所作。文與唐同年，故本幅可定為唐寅此際（一五Ο九頃）的作品。(20100710)
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網頁展示說明 |
This work derives from Ban Jieyu's "Song of Reproach," in which she wrote, "Ever fearful of autumn's arrival, when cool breezes quench the sizzling heat, you will discard your fan into a box, your affection suddenly stopping." Under coir palm trees, Concubine Ban stands here holding a fan in a courtyard with hollyhock in front, signaling the end of summer. The blossoms are in the "boneless" wash technique, while her face reveals makeup known as "three whites," both being quite close to Du Jin's "Appreciating Antiquities," thus showing Tang's stylistic origins. Also, the style of Wen Zhengming's inscription at the top suggests it was done after the age of 40. Since both Wen and Tang were born in the same year, it would date this work to sometime after 1509.(20100710)
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網頁展示說明 |
本作は漢代の班婕妤が帝の寵愛を失った末に詠んだ「怨歌行」を題材としている。「常に恐る秋節の至り、涼風炎熱を奪い、篋笥の中に棄捐せられ、恩情中道に絕えんことを」。棕櫚（しゅろ）の木の下に、団扇を持った班姫が佇んでいる。手前の庭には立葵が植えられており、夏の終わりを表現している。花は沒骨法、女性の顏は三白法で描かれ、いずれも杜菫の「玩古図」の表現手法に近く、唐寅の畫風の源流をうかがうことができる。このほか、作品上方の文徵明の題識は、その書体から文氏が四十歳以降に書いたものと思われる。文氏と唐寅は同い年であるため、本作は唐寅が四十の頃（1509年頃）の作品と考えることができる。(20100710)
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參考書目 |
劉芳如，〈明唐寅畫班姬團扇 軸〉，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90-91、258-259。
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參考書目 |
林莉娜、陳建志、鄭淑方，〈明唐寅畫班姬團扇 軸〉，收入《明四大家特展-唐寅》（臺北：國立故宮博物院，2014.07），頁116-119、302。
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參考書目 |
〈明唐寅畫班姬團扇 軸〉，收入何炎泉主編《毫端萬象-祝允明書法特展》（臺北：國立故宮博物院，2013.01），頁334-335、380。
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