| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈續篇（寧壽宮），第五冊，頁2704
|
|
收藏著錄 |
故宮書畫錄（卷五），第三冊，頁70-71
|
|
收藏著錄 |
故宮書畫圖錄，第二冊，頁7-8
|
|
參考書目 |
1.童文娥，〈宋趙伯駒漢宮圖〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁102-103。
2.國立故宮博物院編輯委員會，〈宋趙伯駒漢宮圖〉，收入國立故宮博物院編輯委員會編，《界畫特展圖錄》（臺北：國立故宮博物院，1986年初版），頁56。
3.本社，〈宋趙伯駒漢宮圖〉，《故宮文物月刊》，第17期（1984年8月），頁1。
4.李霖燦，〈山水畫中點景人物的斷代研究〉，《故宮季刊》，第十三卷第二期（1978年冬），頁25-40。
5.林莉娜，〈漢宮圖〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁382。
|
|
內容簡介（中文） |
趙伯駒（約西元1120-1162年），字千里，宋太祖七世孫，趙大 年之子。仕至浙東兵馬鈐轄。善畫山水、花果、翎毛，及人物。樓閣界畫尤妙。 本幅界畫漢宮，宮中設步帳，帳外牛馬車駕。帳內宮女兩行，各執法樂。擁簇一婦人，後從五箑，前有餼羊，穿假山，趨高臺。賦彩古艷，筆細而沈著有力，人物、車馬、樓閣、傢俱、樹石遠山賅備，雖是小品，卻極複雜精細。清高宗以為漢武帝七夕會西王母事。原無名款，明末董其昌審定為南宋初趙伯駒所繪。 本幅畫漢宮七夕景色，宮殿閣道，上接層觀。人物、車馬、樓閣、傢俱、樹石遠山賅備，是小品中較為複雜的畫。原無名款，唯畫中用界極工，人物精妙，明末董其昌審定為南宋初趙伯駒所作。詩塘有董其昌記：「趙千里學李昭道宮殿，足稱神品。董其昌審定」。
|
|
內容簡介（英文） |
Chao Po-chu was a descendent of the founder of the Sung dynasty, and son of the artist Chao Ta-nien. He served as Military Administrator of Infantry and Cavalry in Che-tung, Chekiang. He was good at many subjects, but his architectural and ruled line paintings were especially excellent. This painting depicts a scene at the Han Palace. Outside screens in the courtyard are ox – and horse-drawn carriages; within are two columns of court maidens, each holding a musical instrument. They are escorting a lady. Behind them are five attendants carrying fans. A sacrificial sheep precedes them, and the entire procession is crossing the artificial mountains toward a shrine altar. The application of color is particularly handsome, and the use of the brush is fine yet forceful. There is an inscription by the Ch'ien-lung emperor(r. 1736-1796), who thought that the painting depicts the sacrifice performed by Han emperor Wu-ti (140-86 B.C.) in his effort to meet the Queen Mother of the West (Queen of the Taoist Fairies). Chao Po-chu (1120-1162), style name Ch'ien-li, was the seventh generation descendant of Sung T'ai-tzu(r.960-966) and the son of Chao Ling-jang (No.70). He served as a military official in eastern Chekiang but was also an able painter of landscapes, flowers and fruit, birds and animals, and figures. He was especially adept at rendering storied buildings in the “boundary painting“ manner. “The Han Palace” depicts the palace on the night of the Ch'i-hsi festival (the 7th of the seventh lunar month). At the top of path is a high pavilion with a viewing platform. The scene is filled with figures, carts, horses, and furnishings. It is not signed. On the colophon paper above the painting is an inscription by Tung Ch'i-ch'ang, who evaluated it in these words, “Chao Ch'ien-li studied the palaces of Li Chao-tao. This (painting) is good enough to belong to the divine class.”
|
|
內容簡介（中文） |
重檐歇山頂樓閣造型雄渾有力，室內擺置鎏金香爐、鼎、尊等銅器及瓷器，此類器物多用於筵席陳設及重要禮儀場合，所繪應為南宋宮廷重要殿閣，主題則是皇宮節令活動之實景。
宮廷樂人並排引導奏樂，隊伍內有執扇宮娥伴隨妃嬪徐徐步行。庭院帷障內停放牛車馬輅，篷頂覆棕絲並綴朱漆脊梁，車身雕鏤裝飾華美，應為官員眷屬座車。本幅雖無名款，董其昌（1555－1636）跋文訂為趙伯駒（約1120－約1162）所作。(20101015)
|
|
內容簡介（英文） |
The form of the double-eave, hip-and-gable roof for the main building in this painting is majestic and imposing, and set up in the interior are refined bronzes and porcelains, such as a gilt incense burner, cauldron, and zun vessel. Such types were mostly used at banquet settings and important ceremonies. As a result, the painting here probably depicts a major hall at the Southern Song court, the subject perhaps being an actual scene from an imperial festival.
Female court musicians here line up side-by-side to lead the tune, and in the ranks are palace female attendants holding rounded fans for the concubines proceeding through the scene. The courtyard is curtained off in front with ox- and horse-carriages outside. The awning to the carriage on the right is covered with coir frills embellished with red lacquer ridges. The body of the vehicle with its beautiful openwork decoration indicates it is probably for someone with official relations. Although this work has no signature, Dong Qichang (1555-1636) ascribed it to Zhao Boju.(20101015)
|
|
參考書目 |
〈宋趙伯駒漢宮圖 軸〉，收入李玉珉、何炎泉、邱士華主編《妙合神離-董其昌書畫特展》（臺北：國立故宮博物院，2016.01），頁90-91、382。
|
|
參考書目 |
何傳馨，〈宋趙伯駒漢宮圖 軸〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁278-279、382。
|
|
參考書目 |
國立故宮博物院編輯委員會，〈宋趙伯駒漢宮圖 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁102-103。
|
推薦
