| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈三編（御書房），第七冊，頁3104
|
|
收藏著錄 |
故宮書畫錄（卷五），第三冊，頁353
|
|
收藏著錄 |
故宮書畫圖錄，第七冊，頁253-254
|
|
參考書目 |
1.許郭璜，〈明仇英松亭試泉〉，收入許郭璜編，《仇英作品展圖錄》（臺北：國立故宮博物院，1989年初版），頁91。
2.江兆申，〈仇英松亭試泉 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294。
|
|
內容簡介（中文） |
仇英（約西元1494-1552年）字實父，江蘇太倉人，為明四大家之一。 草亭築於松溪石畔，亭內士人倚欄憑溪，一小僕人攜罐汲泉備茶。亭前樹下有茶爐、燒壺一組，一旁石上亦置茶壺、茶葉罐、茶杯等，整個畫面呈現明代文人優游茶事的情趣。畫中幽雅清靜的品茶環境，反映了濃郁的生活雅趣及文人氣質，也正是明人注重品茗環境的具體表現。
|
|
內容簡介（英文） |
Tea Made from Spring Water in a Pine-shaded Pavilion Ch’iu Ying (ca. 1494-1552) Ming Dynasty Ch’iu Ying, a native of Kiangsu Province, was one of the Four Ming Masters. Here, a thatched pavilion appears by the rocky shore of a stream with pines. In the pavilion, a scholar leans on a railing by the stream. An attendant dips a jar in the stream to get water in preparation for making tea. A tea stove with a pot on top is to the right below the trees. To its side is a rock upon which is a set of teapots, a tea leaf canister, and tea cups. This painting reveals the elegant pursuit of tea by scholars in the Ming dynasty. The pure and serene setting for tasting tea here reveals the refined lifestyle and scholarly atmosphere sought by literati. This is a concrete expression of the idealized Ming dynasty tea setting.
|
|
內容簡介（中文） |
仇英（約西元1494-1552年）字實父，江蘇太倉人。他的出身低微，年青時當過漆工。後來周臣發現他的繪畫才能，而給予指導，因此漸有名於畫壇。工畫山水、人物，並兼長花卉、禽獸等。 草亭築於松溪之畔，士人與童子舔息亭中，一童臨溪汲水，以備烹茶。此幅畫風近似南宋的李唐、劉松年，用筆緊密，青綠設色精麗而溫雅。
|
|
內容簡介（英文） |
Trying the Spring Water Ch’iu Ying (ca. 1494-1552) Ming Dynasty Ch’iu Ying, style name Shih-fu, was a native of T’ai-ts’ang in Kiangsu Province. He was of humble origins and worked as a common artisan in his youth. His talents remained unnoticed until he studied painting with Chou Ch’en, after which he gradually became well-known. Although Ch’iu Ying is best known for his landscape and figure paintings, he was equally talented in describing grasses, birds, and animals. This painting depicts a scholar pausing for a rest in a thatched pavilion beside a mountain stream. A boy attends his master in the pavilion while another draws water from the stream for brewing tea. The style of this scroll, especially the texturing of the mountains and the description of the pine trees, follows the styles of such Southern Sung (1127-1279) masters as Li T’ang and Liu Sung-nien. The application of color is refined and elegant. The brushwork is tight and orderly.
|
|
參考書目 |
許文美、劉芳如，〈明仇英松亭試泉圖 軸〉，收入《明四大家特展-仇英》（臺北：國立故宮博物院，2014.10），頁50-55、273、320。
|
