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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1863
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁38
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收藏著錄 |
故宮書畫圖錄，第七冊，頁13-14
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內容簡介（中文） |
韓熙載是五代南唐朝廷的官員，有政治才幹，也具藝術造詣。他眼見國勢日衰， 痛心貴族官僚爭權奪利，把一腔苦衷寄託在歌舞夜宴之中。南唐後主李煜聽說他生活荒縱，即派畫家顧閎中深夜潛入韓宅， 窺看其縱情聲色的場面，回來後畫成「韓熙載夜宴圖卷」。原畫明代曾流傳於蘇州，唐寅（西元一四七○－一五二三年）將原畫中主角擊鼓作樂的場景改畫為以庭園為背景，成為再創造的故事人物畫。
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內容簡介（英文） |
Han Hsi-tsai was a Southern T’ang court official during the Five Dynasties. A political talent, he was also had a flair for the arts. He witnessed how national strength weakened and was distressed as nobility and bureaucrats struggled for power, burying his sorrow in song and dance at evening banquets. Li Yu, last ruler of the Southern T’ang, heard that his desperation, so he sent the painter Ku Hung-chung at night to Han’s residence to view his indulgences. After returning, Ku painted “Han Hsi-tsai’s Night Revels”. The original work had circulated around Soochow in the Ming dynasty, and T’ang Yin converted the central figure beating a drum in the original into a garden scene, thus reinventing the narrative.
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內容簡介（中文） |
唐寅（西元一四七０－一五二三年），江蘇蘇州人，字伯虎，號六如。碧綠梧桐、青翠竹叢、紅榴白蓮，庭院點燃蠟炬。韓熙載戴著紗帽穿長袍，捲袖擊花鼓伴奏。小吏拿拍板侍於側，少女在前表演六么舞，眾目皆注視著。
此圖為觀舞場面畫家插繪許多家具，有夾頭榫平頭案、燈掛式交椅（上覆錦繡椅披）、座屏、束腰彎腿帶托泥鼓架，皆是明代家具，並非五代風格。而與另一張同名（重慶市博物館藏）唐寅臨本有多處近似，然細審此圖並非唐寅真蹟，應為明人附名之作。
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內容簡介（英文） |
T’ang Yin (style name Po-hu and sobriquet Liu-ju) was a native of Soochow, Kiangsu. In a garden setting ablaze in the colors of white lotuses, red pomegranates, verdant bamboo, and emerald pawlonia trees, the figure of Han Hsi-tsai can be seen wearing a gauze cap and long-sleeved garment rolled up as he beats a tune on the large drum before him. A lower official stands to his side accompanying his performance with wooden clappers. In front, a maiden performs a dance with her eyes fixed on the host.
This dance scene includes many examples of furniture introduced by the artist. There are recessed-leg tables with bridle-and-tenon joints, a “lamphanger” foldable chair with a brocaded cloth draped over its high back, a large standing screen, and a waisted drum stand with curved legs and circular horizontal stretchers. These are all examples of Ming (1368-1644) style furniture and not that of the Five Dynasties (907-960) when the original version was done. This painting is similar to another copy of the same title by T’ang Yin in the Chungking City Museum. Close comparison suggests that the National Palace Museum version is not the original, but could have been done by another Ming dynasty artist nonetheless.
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內容簡介（中文） |
唐寅（西元一四七０－一五二三），江蘇蘇州人，字子畏，一字伯虎，號六如。稟性爽朗，狂逸不羈。初同周臣學畫，青出於藍。畫的題材很廣。山水畫學李成、范寬、馬夏及元朝四家。能詩善畫。因為胸中多數千卷書，畫中充滿了文學氣質，加深了畫的內涵。碧綠的梧桐、青翠的竹叢，紅色石榴花、潔白的蓮花。畫屏高漲，曲欄低徊。韓熙載戴著紗帽，穿著紅袍，捲著袖子撾鼓。小吏拿著板子侍側於後，舞姬在前舞蹈。桌案上列著酒肴。庭院內點燃蠟炬。描繪出韓熙載生活的情形。
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內容簡介（英文） |
T’ang Yin was a native of Suchou in Kiangsu province. In his early years he loved to drink, but was advised by his friend Chu Yun-ming to take the government examinations. He studied painting with Chou Ch’en, and soon surpassed his teacher. The subjects he painted were broad and refined. In landscape painting he followed Li Ch’eng, Fan K’uan, Ma Yuan, Hsia Kuai, and the Four Masters of the Yuan dynasty. He was good at both calligraphy and poetry, but when other people praised him he said, “My immortality will not lie there,” meaning that his true value was as a painter. Of broader capabilities than his master, both in the quantity of books he authored and in the literary disposition of his painting, he added depth of content to the painting style he had studied, thus becoming one of the Four Masters of the Ming.
The we-t’ung tree in this painting is verdant, the bamboo grove a fresh shade of green, and the blossoms pure white. The painted screen is tall and broad, the winding balustrade low. Han Hsi-tsai is wearing an official’s hat and red robe, and with sleeves rolled up is beating a drum. One of the two smaller officials at his side is holding bundles of bamboo slats, perhaps to beat out a complementary rhythm. In front, two dancing girls are performing. There is wine on the table, and candles burn in the courtyard. Han Hsi-tsai is depicted with a very lifelike spirit.
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內容簡介（中文） |
韓熙載是五代南唐朝廷的官員，有政治才幹，也具藝術造詣。他眼見國勢日衰，痛心貴族官僚爭權奪利，把一腔苦衷寄託在歌舞夜宴之中。南唐後主李煜聽說他生活荒縱，即派畫家顧閎中深夜潛入韓宅， 窺看其縱情聲色的場面，回來後畫成「韓熙載夜宴圖卷」。原畫明代曾流傳於蘇州，唐寅（西元一四七○－一五二三年）將原畫中主角擊鼓作樂的場景改畫為以庭園為背景，成為再創造的故事人物畫。(20091016)
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內容簡介（英文） |
Han Xizai (902-970) was a Southern Tang court official during the Five Dynasties. A political talent, he also had a flair for the arts. He witnessed how national strength weakened and became distressed as nobility and bureaucrats struggled for power, thus burying his sorrow in song and dance at evening banquets. Li Yu, last ruler of the Southern Tang, heard of his desperation, so he sent the painter Gu Hongzhong at night to Han’s residence to observe Han’s indulgences. After returning, Gu painted “Han Xizai’s Night Revels.” The original work had circulated around Suzhou in the Ming dynasty, and Tang Yin converted the central figure beating a drum in the original into the garden scene here, thus re-inventing the narrative.(20091016)
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參考書目 |
1.劉英貝，《吳偉人物畫風格研究》，國立中央大學藝術學研究所碩士論文，2007年。
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參考書目 |
鄭淑方，〈明唐寅畫韓熙載夜宴圖 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94-95、260。
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參考書目 |
林莉娜、陳建志、鄭淑方，〈明唐寅畫韓熙載夜宴圖 軸〉，收入《明四大家特展-唐寅》（臺北：國立故宮博物院，2014.07），頁132-135、304。
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參考書目 |
〈明唐寅畫韓熙載夜宴圖 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64-65、123。
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