论文部分内容阅读
一、仇英与《汉宫春晓图》仇英(1482—1559年),字实父,号十洲,明代中期江苏太仓人,后移居吴县。擅画人物,尤长仕女,既工设色,又善水墨、白描,能运用多种笔法表现不同对象,或圆转流畅,或劲丽艳美,偶作花鸟亦明丽有致。与沈周、文征明、唐寅并称为“明四家”。《汉宫春晓图》为仇英最具有代表性的工笔重彩仕女画。此画为绢本重设色,纵30.6厘米、横574.1厘米,现藏台北故宫博物院。此作以中国人物画常用的手卷形式描绘初春晨曦中的汉代宫闱生活。画幅自右至左分别描绘了汉宫女子妆扮、浇灌、折枝、插花、饲
One, Qiuying and “Han Gong Chun Xiao map” Qiuying (1482-1559), the word father, number ten Island, Jiangsu Taicang in the middle of Ming Dynasty, later moved to Wuxian. Good at drawing characters, especially ladies, both Gong color, good ink, white sketches, can use a variety of styles to express different objects, or smooth rotation, or beautiful beauty, even for flowers and also bright and beautiful. With Shen Zhou, Wen Zhengming, Tang Yin and called “Ming four”. “Han Gong Chun Xiao map” as the most representative Qiu Ying’s meticulous beauty painting. This painting is a silk-based re-set color, longitudinal 30.6 cm, horizontal 574.1 cm, now possession of Taipei National Palace Museum. This is the hand-scroll form commonly used in Chinese portraits depicting the early spring dawn in the palace life Han Dynasty. Paintings from the right to the left, respectively, depicts the Han Palace woman makeup, watering, folding branches, flower arrangements, feeding