书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宝笈三编
鑑藏宝玺：宣统御览之宝
收传印记：一书生
收传印记：橤书楼藏

题跋资料:

题跋类别：作者款识；作者：唐寅；题跋位置：本幅；款识：吴郡唐寅；书体：行书；全文： 印记：唐伯虎、南京解元

题跋类别：题跋；作者：祝允明；题跋位置：本幅；款识：祝允明；书体：行书；全文：碧云凉冷别宫苔。团扇徘徊句未裁。休说当年辞辇事。君王心在避风台。祝允明。印记：晞哲

题跋类别：题跋；作者：文征明；题跋位置：本幅；款识：征明；书体：行书；全文：落尽閒花日晷迟。薄罗轻汗暑侵肌。眉端心事无人会。独许青团扇子知。征明。印记：文壁印、文征明印

题跋类别：题跋；作者：王榖祥；题跋位置：本幅；款识：王榖祥；书体：行书；全文：蝉髟丐低垂螺黛残。含颦睡起恨漫漫。长门七月浑无暑。翠袖王灵珑掩合欢。王榖祥。印记：榖祥、王禄之印

主题:

主要主题：人物仕女 ；次要主题：树木棕榈 ；次要主题：花草蜀葵 ；其他主题：器用扇扇（团扇）；其他主题：建筑庭院 ；其他主题：山水奇石 ；其他主题：山水秋景 

技法:

工笔 写意 皴法斧劈皴人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第四册，页1865 收藏着录： 故宫书画录（卷五），第三册，页351 收藏着录： 故宫书画图录，第七册，页19-20 参考书目： 1.刘芳如，〈明唐寅画班姬团扇〉，收入国立故宫博物院编辑委员会编，《明中叶人物画四家特展－杜菫、周臣、唐寅、仇英》（台北：国立故宫博物院，2000年初版），页150-152。2.江兆申，〈唐寅班姬团扇　轴〉，收入国立故宫博物院编，《吴派画九十年展》（台北：国立故宫博物院，1975年初版，1976年再版，1981年三版），页303。3.刘芳如，〈唐寅班姬团扇〉，收入刘芳如、张华芝主编，《群芳谱 — 女性的形象与才艺》（台北：国立故宫博物院，2003年初版一刷），页64- 65。4.刘芳如，〈明唐寅画班姬团扇〉，收入国立故宫博物院编辑委员会编，《仕女画之美》（台北：国立故宫博物院，1988年四月初版），页83-84。5.冯幼衡，〈唐寅仕女画的类型与意涵 — 江南第一风流才子的旷古沉哀〉，《故宫学术季刊》，第二十二卷第三期（2005年春），页55-90。 内容简介（中文）： 本幅取材自汉班婕妤的〈怨歌行〉：「常恐秋节至，凉飙夺炎热，弃捐箧笥中，恩情中道绝。」榈树下，班姬持扇伫立，庭前复植有蜀葵，点出夏末时令。 幅中画花用没骨法、仕女脸部的三白法，均与杜菫「玩古图」极近，据此可观测唐寅的风格源流。另外，由画上方文征明题识的书体研判，应为文氏四十岁后所作。文与唐同年，故本幅可定为唐寅此际（一五○九顷）的作品。 内容简介（中文）： 椶榈下班姬持扇，下画葵花点秋令。按汉班婕妤有怨歌行，末云：「常恐秋节至，凉颷夺炎热，弃捐箧笥中，恩情中道绝」。盖有所讬而云然也。轴上有祝允明、文征明、王榖祥三题。文征明字，与他书皆不类，微近三十九岁书落花诗笔意，惟落花诗署名尚用文壁耳。相传征明四十岁使用「征明」署书画，四十岁前用「文壁」，故此帧定为唐寅四十岁之作。文唐两人，本同年生。 内容简介（中文）： 唐寅（西元一四七０－一五二三年）江苏吴县人。字子畏，一字伯虎，号六如。天资颖异，性格潇洒不羁，自命为江南第一风流才子。山水、人物、花鸟无所不精，画师周臣，而有出蓝之誉。椶闾下班姬持扇，下画葵花点秋令。按汉班婕妤有怨歌行，末云：「常恐秋节至，凉飕夺炎热，弃捐箧笥中，恩情中道绝」。盖有所讬而云然也。标题班姬团扇，实误，案班姬为班昭（曹大家）而非班婕妤。 内容简介（英文）： T’ang Yin (style names Tzu-wei and Po-hu; sobriquet Liu-ju) was a native of Wu-hsien, Kiangsu. One of the foremost and boldest artistic geniuses of the Kiangnan region, he studied with, and eventually surpassed, his teacher Chou Ch’en. T’ang Yin excelled in many subjects, including landscapes, figures, and birds-and-flowers. The blossoming hollyhocks in this garden courtyard bespeak the coming of autumn. Beneath a coir palm stands Lady Pan Chieh-Yü, holding a fan. She was once the favored consort of Emperor Ch’eng (r.33-8 B.C.) of the Western Han but was supplanted in his affections by another. She thereupon wrote a lament, comparing her fall to that of a fan placed in storage at the end of summer; Ever fearing the approach of autumn, The shimmering heat of summer is snatched away by the brisk winds. [Like a fan] Abandoned and cast into a chest, Gentle affections have all but vanished. The title of the painting is actually a slight misnomer, for the name Lady Pan (Pan Chi) usually refers to the Han historian Pan Chao, not Pan Chieh-yü. 内容简介（英文）： A lady stands holding a fan beneath a grove of coir-palms. Below her is a camellia bush, indicating the autumn season. Pan Chieh-yü was a concubine of the Han Emperor in the 1st century B.C.; when she lost favor with him she sent him a fan inscribed with this poem: I always fear the coming of autumn, When cool winds replace the summer’s heat, And (the fan) lies neglected in a trunk, All thoughts of bygone days, like them, bygone. This incident provided the subject for T’ang Yin’s painting. On the scroll are inscriptions by Chu Yün-ming, Wen Cheng-ming, and Wang Ku-hsiang. The calligraphy in Wen’s inscription is unlike his usual style. It is slightly similar to his “Poems on Falling Flowers”, written when he was 38 (in 1508), although the latter is signed “Wen Pi”. So far as we know, he did not begin to sign himself “Cheng-ming” until his 39th year. Thus “Lady Pan” could not have been painted before 1509, when T’ang Yin and Wen Cheng-ming were both 39 years old. 内容简介（英文）： The subject here is Lady Pan Chieh-yu, once the favored consort of Emperor Ch'eng (r. 33-8BC) but supplanted by the affections of another. In lament, she compared her fall from favor to the neglect of a fan put away into storage with the arrival of autumn. She stands by coir palm trees holding a fan. The hollyhock in front signals the end of summer. The "boneless" ink wash flower painting and white makeup of the lady are similar to those of Tu Chin's Enjoying Antiquities, from which T'ang's style here derived. Furthermore, the style of Wen Cheng-ming's inscription in the upper right belongs to the period after the age of 39. Since Wen and T'ang were born in the same year, this painting was probably done sometime after 1509. 网页展示说明 本幅取材自汉班婕妤的〈怨歌行〉：「常恐秋节至，凉飙夺炎热，弃捐箧笥中，恩情中道绝。」榈树下，班姬持扇伫立，庭前复植有蜀葵，点出夏末时令。 幅中画花用没骨法、仕女脸部的三白法，均与杜菫〈玩古图〉极近，据此可追索唐寅的风格源流。另外，由画上方文征明题识的书体研判，应为文氏四十岁后所作。文与唐同年，故本幅可定为唐寅此际（一五Ο九顷）的作品。(20100710) 网页展示说明 This work derives from Ban Jieyu's "Song of Reproach," in which she wrote, "Ever fearful of autumn's arrival, when cool breezes quench the sizzling heat, you will discard your fan into a box, your affection suddenly stopping." Under coir palm trees, Concubine Ban stands here holding a fan in a courtyard with hollyhock in front, signaling the end of summer. The blossoms are in the "boneless" wash technique, while her face reveals makeup known as "three whites," both being quite close to Du Jin's "Appreciating Antiquities," thus showing Tang's stylistic origins. Also, the style of Wen Zhengming's inscription at the top suggests it was done after the age of 40. Since both Wen and Tang were born in the same year, it would date this work to sometime after 1509.(20100710) 网页展示说明 本作は汉代の班婕妤が帝の宠爱を失った末に咏んだ「怨歌行」を题材としている。「常に恐る秋节の至り、凉风炎热を夺い、箧笥の中に弃捐せられ、恩情中道に绝えんことを」。棕榈（しゅろ）の木の下に、団扇を持った班姫が伫んでいる。手前の庭には立葵が植えられており、夏の终わりを表现している。花は没骨法、女性の颜は三白法で描かれ、いずれも杜菫の「玩古図」の表现手法に近く、唐寅の画风の源流をうかがうことができる。このほか、作品上方の文徴明の题识は、その书体から文氏が四十歳以降に书いたものと思われる。文氏と唐寅は同い年であるため、本作は唐寅が四十の顷（1509年顷）の作品と考えることができる。(20100710)