【作品基本信息】
| 作者 | 仇英 |
| 品名 | 十八学士登瀛洲图轴 |
| 朝代 | 明朝 |
| 文件大小 | 18.01MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 1670×3595 |
| 尺寸（CM） | 14.13×30.43 |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
基本数据
| 藏品类型 | 绘画 |
| 品名 |
明仇英十八学士登瀛洲图轴 The Eighteen Scholars in the lsles of the Immortals |
| 分类 | 绘画 |
| 作者 | 仇英 |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 223.2×102 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 绢 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 作者款识 | 仇英 | 本幅 | 仇英实父制 | 行楷书 | |
|
印记： 十洲 |
|||||
印记资料
| 【印记类别】 | 【印记】 |
| 收传印记 | 三松堂图书记 |
| 鉴藏宝玺 | 宣统御览之宝 |
| 鉴藏宝玺 | 嘉庆御览之宝 |
| 鉴藏宝玺 | 宝笈三编 |
| 鉴藏宝玺 | 嘉庆鉴赏 |
| 鉴藏宝玺 | 石渠宝笈 |
| 鉴藏宝玺 | 三希堂精鉴玺 |
| 鉴藏宝玺 | 宜子孙 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 次要主题 | 人物 | 军士 | |
| 次要主题 | 树木 | ||
| 次要主题 | 花草 | 桃花 | |
| 次要主题 | 树木 | 松 | |
| 其他主题 | 器用 | 扇 | 羽扇 |
| 其他主题 | 器用 | 兵器 | 斧、矛、槌 |
| 其他主题 | 器用 | 服饰（对人） | 巾帽、武士服装 |
| 次要主题 | 器用 | 文玩（琴棋书画） | 棋、书、青铜器（鼎、尊） |
| 次要主题 | 器用 | 饮食器 | 壸、杯 |
| 次要主题 | 器用 | 家具（屏风） | 桌椅、床榻（马车坐椅） |
| 次要主题 | 车 | 兽力车 | |
| 次要主题 | 建筑 | 栏杆 | |
| 次要主题 | 建筑 | 庭院 | |
| 次要主题 | 建筑 | 桥 | |
| 次要主题 | 建筑 | 亭 | |
| 次要主题 | 建筑 | 台阁 | |
| 次要主题 | 走兽 | 马 | 5匹 |
| 次要主题 | 人物 | 圉人 | |
| 次要主题 | 山水 | 云 | |
| 主要主题 | 山水 | 名胜 | 仙山（瀛洲） |
| 次要主题 | 山水 | 瀑布 | |
| 主要主题 | 人物 | 高士（士人、隐士） | |
| 次要主题 | 人物 | 侍从（侍女、童仆） | 童仆 |
| 次要主题 | 山水 | 溪涧、湍泉 | |
| 其他主题 | 山水 |
技法
| 【技法】 | 【技法细目】 |
| 工笔 | |
| 界画 | |
| 皴法 | 披麻皴 |
| 人物衣纹描法(匀称线条) | |
| 苔点 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 石渠宝笈三编（延春阁），第四册，页1882 |
| 收藏着录 | 故宫书画录（卷五），第三册，页363 |
| 收藏着录 | 故宫书画图录，第七册，页283-284 |
| 内容简介（中文） |
唐太宗得杜如晦、房玄龄等十八人佐政而兴邦。后命阎立本图像，褚亮为赞，题名字爵里，号十八学士，藏之御府，时人谓之登瀛洲。本幅绘十八学士集聚园林，文酒相会之景况，画笔虽佳，然青绿设色略觉鲜丽，当出于好手仿仇英之作。 仇英（约公元一四九四－一五五二年）字实父，号十洲。江苏太仓人。本为漆工，后从周臣学画，为明朝四大家之一。 |
| 内容简介（英文） |
Emperor T’ai-tsung (r. 627-649) of the T’ang had 18 scholars to help him govern China. Yen Li-pen was ordered to portray the group in what became known as “The Eighteen Scholars,” which was stored in the imperial archives. Contemporaries called it “The Isles of the Immortals.” Painted here in the blue-and-green manner, the 18 scholars gather in a forest garden for a literary party. Though the brushwork is fine, the strong coloring suggests the hand of a competent artist imitating the style of Ch’iu Ying. Ch’iu Ying, a native of Kiangsu, originally was a lacquer artisan who later studied painting under Chou Ch’en, eventually exceeding him to become one of the Four Masters of the Ming. |
| 内容简介（中文） | 仇英（约公元一四九四－一五五二年），江苏太仓人。字实父，号十洲。年青时曾为漆工，后遇周臣，经其指授，渐有名于艺坛。工画山水、人物，为明四大家之一。唐太宗时，由于杜如晦、房玄龄等十八位贤臣的辅佐，唐室得以兴盛，所以太宗即命閰立本为这十八学士画像，自此「十八学士图」便成为我国绘画的一个重要题材。本幅设色明艳，画十八学士群聚园林，文酒相会的场面，人物姿态鲜活。 |
| 内容简介（英文） |
Ch’iu Ying, a native of T’ai-ts’ang in Kiangsu province, studied as a lacquer artisan in his youth. He later met the artist Chou Ch’en and learned painting, gradually establishing a name in art circles. He excelled at landscapes and figures, becoming known as one of the Four Masters of the Ming. The T’ang emperor T’ai-tsung (r. 627-649) had 18 scholars assist him in governing the country. With the dynasty firmly established, the emperor ordered Yen Li-pen to paint portraits of these important figures. This subject was known as “The Eighteen Scholars” and became important later in Chinese painting. This opulent work shows these 18 scholars scattered in a forest garden setting and engaged in lively scenes of drinking and leisure. |
| 内容简介（中文） |
仇英（约公元一四九四－一五五二年），江苏太仓人，后移居吴县。字实父，号十洲。本为漆工，后从周臣学画，擅长山水、楼台、人物和仕女。又善于临摹古人作品，几可乱真，为明四大家之一。 唐太宗得杜如晦、房玄龄等十八人佐政而兴邦。后命閰立本图像，褚亮为赞，题名字爵里，号十八学士，藏之御府，时人谓之登瀛洲。本幅青绿设色，十八学士，文酒相会，集聚园林，虚堂卷幔，珍木垂檐，前临碧水，后拥云峦，状瀛洲之美。 |
| 内容简介（英文） |
Ch’iu Ying originally was a lacquer artisan, but then studied painting with Chou Ch’en. Ch’iu’s repertoire included landscapes, architecture, and figures. He was known for his copies of ancient paintings, which were almost indistinguishable from the originals. He is considered one of the Four Masters of the Ming dynasty. The T’ang emperor T’ai-tsung (r. 627-649) had eighteen scholars to help him govern China, including Tu Ju-hui and Fang Hsuan-ling. Yen Li-pen was commissioned to paint a portrait of the group, and Chu Liang assisted by writing in their names and ranks. The painting was called “The Eighteen Scholars” and stored in the imperial archives. Contemporaries called it “The Isles of the Immortals.” Painted here in the blue-and-green manner, the eighteen scholars have gathered in a forest garden for a literary party and are scattered about the landscape and luxurious buildings. The view extends from the clear water of the foreground to the cloudy peaks of the far distance. This indeed resembles the beauty of the isles of the immortals. |
| 内容简介（中文） | 仇英字实父，江苏太仓人。出身低微，年青时曾为漆工。他的绘画才能被周臣赏识，加以指导，因此渐有名于画坛。据温肇桐明四家年谱之考订，生于公元一四九四年。据画迹题跋考证，卒于嘉靖三十一年，公元一五五二年，年约五十九岁。此幅青绿画。虚堂卷幔。珍木垂檐。其中环坐而饮者四人。执鼎彝品题者三人。对奕二人。从旁观者三人。拈髭吟花者一人。偕行山石间相顾语者三人。度桥方来者二人。外仆夫三、童子六。武士四。前临碧水，后拥云峦。状瀛洲之美。 |
| 内容简介（英文） |
Ch’iu Ying (tzu Shu-fu), was a native of T’ai-ts’ang, Kiangsu. He was born of humble stock, and as a youth worked as a lacquerer. His paintings were much appreciated by Chou Ch’en (fl. 1500-1535), a prominent professional painter, and Chou taught Ch’iu Ying. Gradually the younger man gained fame in Suchou. This painting is in the blue-and-green manner. In a tree shaded pavilion, four men sit drinking, while outside three others admire ancient bronze vessels. Two more gentlemen play at a chess game with three spectators. Two of the scholars are just crossing the bridge and approach four armed guardians. The view presented by the artist extends from the green water of the foreground to the cloudy peaks of the far distance. This is indeed the beauty of the Isles of the Immortals. |
【作品展示】
明仇英十八学士登瀛洲图轴
