基本資料 藏品類型 繪畫
文物統一編號 故畫000357N000000000 抽盤點紀錄 修護紀錄
作品號 故畫00035700000
品名 唐人宮樂圖 軸
分類 繪畫
作者 Anonymous
數量 一軸

典藏尺寸 【位置】 【尺寸】(公分)
本幅 48.7x69.5

質地 【質地位置】 【質地】
本幅

印記資料 【印記類別】 【印記】
鑑藏寶璽 乾隆御覽之寶
鑑藏寶璽 乾隆鑑賞
鑑藏寶璽 石渠寶笈
鑑藏寶璽 宜子孫
鑑藏寶璽 三希堂精鑑璽
鑑藏寶璽 石渠定鑑
鑑藏寶璽 寶笈重編
鑑藏寶璽 御書房鑑藏寶
鑑藏寶璽 嘉慶御覽之寶
鑑藏寶璽 宣統御覽之寶
鑑藏寶璽 宣統鑑賞
鑑藏寶璽 無逸齋精鑑璽
收傳印記 趙氏子昂

主題 【主題類別】 【主題(第一層)】 【主題(第二層)】 【主題說明】
主要主題 人物 后妃
其他主題 人物 仕女
其他主題 人物 侍從(侍女、童僕)
其他主題 走獸
其他主題 草蟲 蚊.蠅
其他主題 器用 傢俱(屏風)
其他主題 器用 飲食器
其他主題 器用 樂器

技法 【技法】 【技法細目】
工筆

參考資料 【類別】 【參考資料】
收藏著錄 石渠寶笈續編(御書房),頁1977
收藏著錄 故宮書畫錄(卷五),第三冊,頁32
收藏著錄 故宮書畫圖錄,第一冊,頁45-46
參考書目 1.劉芳如,〈唐人宮樂圖〉,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48-49。 2.〈唐人宮樂圖〉,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54。 3.劉芳如,〈唐人宮樂圖〉,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34-35。 4.林莉娜,〈宮樂圖〉,收入林柏亭主編,《國寶菁華 — 書畫‧圖書文獻篇》(臺北:國立故宮博物院,2006年12月),頁192。 5.劉芳如,〈唐人宮樂圖〉,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74。 6.簡松村,〈宮樂圖〉,《故宮文物月刊》,第9期(1983年12月),頁1。 7.王耀庭,〈宮樂圖〉,《故宮文物月刊》,第9期(1983年12月),頁100-104。 8.劉芳如,〈唐人宮樂圖〉,《故宮文物月刊》,第100期(1991年7月),頁69。 9.劉芳如,〈唐人宮樂圖〉,收入蔡玫芬主編,《精彩一百 國寶總動員》(臺北:國立故宮博物院,2011年九月初版一刷),頁240。 10.劉芳如,〈唐人宮樂圖探微〉,《故宮文物月刊》,第345期(2011年12月),頁102-113。
內容簡介(中文) 本幅無作者名款。畫女樂十二人,十人圍案而坐,中四人正吹奏笙、簫、古箏與琵琶諸樂器。侍立二人中,一人持拍相和,其餘眾人坐聽,壯至閒適。此圖石渠寶笈原標名元人畫,然審其人物體態豐腴,開臉留三白;髮髻衣飾、設色、畫法皆係晚唐作風。
內容簡介(英文) Twelve ladies of the court have gathered around a table to enjoy a relaxed "concert." Four musicians at the far end of the table are playing the flute, lute, zither, and panpipes to the rhythmic sound of clappers played by the woman standing to the left. Today, the painting is attributed to the late T'ang, since it exhibits certain features characteristic of the period. For example, the women are of plumpness requisite to contemporary standards of beauty, which also dictated the application of white facial powder on the forehead nose, and chin. The ladies' elaborately coiffed hair and their style of clothing, as well as the overall color scheme of the painting, also suggest that this is a late T'ang work.
內容簡介(中文) 本幅無作者名款。畫後宮女眷十人環案而坐,中四人正吹奏胡笳、琵琶、古箏與笙助興。侍立二人中,一女執拍相和,其餘眾人坐聽,狀至閒適。圖中席面壺門式大案腿下有托泥,形成箱形榻體,四邊有鏨花的銅包角,符合隋唐流行樣式。仕女側坐月牙凳子,是唐代新興家具,長方凳面施錦緞坐墊,四足皆有華麗雕飾,腿間墜以彩穗。此圖飲茶方法屬煮茶法。將調好的茶湯盛入大撇中,再以長杓分茶,盛入茶碗供飲,適用於人多盛會時。桌面上另置有羽觴,茶酒可同時飲用,並配以茶果。
內容簡介(中文) 本幅畫後宮女眷共十人,圍坐在一張長方大桌的四周,有的飲茶,也有人正在行酒令;上方的四人,則是吹彈樂器,替這一場宴飲的人助興。她們所持用的樂器,自右而左,分別為胡笳、琵琶、古箏與笙。站立的二名侍女當中,還有一人手拿拍板,敲打著節奏。雖然全畫描寫的是奏樂與飲茶、喝酒的場面,但每個人臉上漠然的神情,卻又道盡了宮中日月長的無奈!畫中仕女作元和(806-819)「時式妝」的打扮,並充分顯示受楊貴妃(719-756)影響,以豐腴為尚的審美觀。她們各箇體態渾圓,臉如滿月,雙眉作細細的八字型,開臉留「三白」,寬袖上衣,披帛斜倚,長裙高及胸部。前面四人,和側彈琵琶的一人,梳的髮型最是奇特,稱作「墮馬髻」。左方中央的一人,則頭戴花冠,應是地位最高的一位。不過,無論宮嬪或侍女,每個人頭頂都插著各式梳子,溫庭筠(約813-866)曾有「小山重疊金明滅,鬢雲欲度香腮雪」的詩句,形容的正是婦女頭上的華麗飾物。畫幅的格局短窄,原本很可能是一幅小型屏風畫,後來才被改裝成今日所見的掛軸形式。畫面上並沒有作者的簽名,推測應出自受張萱(8世紀前半)、周昉(約730-800頃)風格影響的畫家之手。
內容簡介(英文) This painting depicts ten women of the inner court as they sit around a long rectangular table enjoying wine and tea. The four at the top of the picture are playing musical instruments to create the mood for this party. The instruments include a Tartar pipe, pipa, zither, and sheng pipe. One of the attendant girls is also holding a clapper to keep the beat. Though the painting describes a scene of music and drinking, there seems to be sense of resignation on the faces of the women, as if this is just an ordinary day in the life of court women. The fashion for beauty among ladies during the Yuan-ho era (806-819) reflected the strong influence of Yang Kuei-fei (719-756), whose full form set a standard. The ladies here are shown with full figures, rounded faces, delicate eyebrows, white makeup, long-sleeved robes, draping silks, and high skirts. Four women along with the one playing the pipa all have their hair tied in an unusual manner known as a “drop-horse knot”. One of the women also wears a floral crown, signifying higher status. Both court ladies and female attendants are shown with their hair tied arranged with combs and pins, which was immortalized in the poetry of Wen T'ing-yun (ca. 813-866) as adorned “mountains” and “clouds”. This painting is rather short for a hanging scroll and may have originally been mounted as part of a small screen that was later remounted into the format we see today. There is no seal or signature of the artist on the work, but it appears to have come from the hand of an artist influenced by the styles of Chang Hsuan (first half of 8th c.) and Chou Fang (ca. 730-800).
網頁展示說明 本幅描繪後宮女眷十人,圍坐於長方大桌的四周,有的飲茶,也有人正在行酒令;上方四人分別吹彈胡笳(篳篥)、琵琶、古箏與笙,為宴飲諸人助興。左方另有一站立的侍女,手握拍板,敲打著節奏。 畫上雖無作者名款,但人物體態豐腴,髮髻衣飾的畫法,亦皆符合唐代女性的審美風尚。由於幅面短窄,推測原本可能是中晚唐時期宮中使用的裝飾屏風,後來才被改裝成掛軸形式。 (20110913)
網頁展示說明 This painting depicts ten ladies of the women’s quarters from the inner palace. They are seated around the sides of a large rectangular table served with tea as someone is also drinking wine. The four figures at the top are playing a Tartar double-reed pipe, pipa, guqin zither, and reed pipe, bringing festivity to the figures enjoying their banquet. To the left is a female attendant holding a clapper that she uses to keep rhythm. Although the painting has no signature of the artist, the plump features of the figures along with the painting method for the hair and clothing all accord with the aesthetic fashions of Tang dynasty ladies. Considering the short height of the painting, it is surmised to have originally once been part of a decorative screen at the court in the middle to late Tang dynasty, later being remounted into the hanging scroll format seen here. (20110913)
參考書目 劉芳如,〈唐人宮樂圖 軸〉,收入《國寶的形成-書畫菁華特展》(臺北:國立故宮博物院,2017.10),頁48-55、303。
參考書目 國立故宮博物院編輯委員會,〈唐人宮樂圖 軸〉,收入《故宮書畫菁華特輯》(臺北:國立故宮博物院,1996.10),頁48-49。