书体:

色彩:

装裱形式:

册(折装)

创作时间:

文字类型:

质地:

本幅绢对幅十八纸

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
鑑藏宝玺：宣统御赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：穆斋珍赏
收传印记：藏书（半印）

题跋资料:

题跋类别：题跋；作者：韩世能对幅十八时万历辛卯（西元一五九一年）十月十五日。礼卿学士韩世能书于翰林院之瀛洲亭。；书体：行楷书；全文：十八拍图。阎立本画。虞世南书。世藏天府。历代流传有绪者也。观其山水树石。师王右丞。（四字乙去）。人物宫殿帏帐牛马。设色画法。全师恺之僧繇。计五百馀人。种种气韵生动。精妙入神。非假之以屡年之精工。奚能办此。永兴书。全师王右军兰亭。烂漫千有馀字。绢素精密。精神烨如。诚称天下法书名画之冠。古今之美萃于此矣。真希世之珍也。馀每携至公署。教息督课之馀。常披玩之。时同观者。门人陶望龄。焦竑。王肯堂。刘曰宁。为馀和墨作字者黄辉。焚香从事者董其昌。执笔者世能也。时万历辛卯（西元一五九一年）十月十五日。礼卿学士韩世能书于翰林院之瀛洲亭。印记：云东生、韩世能印

主题:

技法:

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第三册，页1472 收藏着录： 故宫书画录（卷六），第四册，页4 收藏着录： 故宫书画图录，第二十二册，页50-53 参考书目： 1.刘芳如，〈传宋李唐文姬归汉图〉，收入国立故宫博物院编辑委员会编，《文学名着与美术特展》（台北：国立故宫博物院，2001年初版），页123-125。2.本社，〈文姬归汉〉，《故宫文物月刊》，第68期（1988年11月），页32-43。3.刘芳如，〈解读「文姬归汉」册(上)〉，《故宫文物月刊》，第147期（1995年6月），页4-27。4.刘芳如，〈解读「文姬归汉」册(下)〉，《故宫文物月刊》，第148期（1995年7月），页24-39。5.刘芳如，〈李唐文姬归汉图-第十三拍〉，收入国立故宫博物院编，《宋代书画册页名品特展》（台北：国立故宫博物院，1995年初版一刷），页273-274。6.林柏亭、张华芝，〈宋李唐文姬归汉图〉，收入林柏亭、张华芝编，《画马名品特展图录》（台北：国立故宫博物院，1990年元月初版），页86-87。7.刘芳如，〈文姬归汉图〉，收入何传馨主编，《文艺绍兴：南宋艺术与文化‧书画卷》（台北：国立故宫博物院，2010年十月初版一刷），页347-348。 内容简介（中文）： 本册共计十八幅，形式属于「上文、下图」的连环故事画。内容叙述东汉才女蔡文姬在董卓作乱时，被胡人俘虏，并且嫁给南匈奴的左贤王。直到十二年后，才由曹操派遣使臣，将她赎回汉地。每段画面，对于故事情节和人物、车马、配景，都有非常细腻的描绘。作者原先被订为李唐（约西元一○四九─一一三○年后），但成作时间应稍晚。画中并有多处破损，曾经过明代画家的补缀。 内容简介（中文）： 〈文姬归汉图〉册系以东汉才女蔡文姬（162-229）陷胡的坎苛经历，做为创作背景的历史故事画。全册共十八开，各幅上方并分录〈胡笳十八拍〉诗文。王铎原题作阎立本画，今名乃胡敬根据《画继补遗》而改订。虽未必为李唐（约1070-1150后）所作，然画中笔致古朴，且描绘真实，出自南宋画院中人，当无疑议。本次计选展五幅，依据描绘内容，可分别命名为「北行」、「炊食」、「听乐」、「伤别」与「驻足」。(20101015) 内容简介（英文）： This album of paintings depicts the story of how the Eastern Han lady of talent Cai Wenji (162-229) was captured by nomads, her life among them, and her eventual release. A work of narrative art with a historical background comprising eighteen leaves altogether, each has a transcription from Cai’s “Eighteen Songs of a Nomad Flute” at the top. Wang Duo in the seventeenth century originally ascribed it to the Tang painter Yan Liben, but the attribution nowadays has been revised based on Hu Jing’s later attribution from Addendum to Painting, Continued. Although not necessarily a work by Li Tang, the brushwork in the paintings is simple and archaic and the rendering realistic, making them undoubtedly from the hand of an artist in the Southern Song Painting Academy. Five of the leaves have been selected for exhibit here; based on the contents, they can be divided according to the following titles: “The Trip North,” “Cooking a Meal,” “Listening to Music,” “The Sad Farewell,” and “Encampment Halt.”(20101015) 内容简介（英文）： This album is composed of 18 leaves in a format in which the text is above and the illustration below, forming a continuous sequence for the story. It narrates the story of the gifted Eastern Han lady Ts'ai Wen-chi, who during a period of chaos in the early 3rd century was captured by nomads and married off to King Tso-hsien of the Southern Hsiung-nu. Not until 12 years later was she ransomed and then escorted home by Ts’ao Ts'ao. Each illustrated segment is descriptive in terms of the details of the story, the figures, horses, and background scenery. Originally attributed to the Sung court painter Li T'ang, the painting here dates slightly later stylistically. Damaged in places, it was restored by a Ming dynasty (1368-1644) painter. 网页展示说明 〈文姬归汉图〉册系以东汉才女蔡文姬（一六二－二二九）陷胡的坎苛经历，做为创作背景的历史故事画。全册共十八幅，各幅上方并分录〈胡笳十八拍〉诗文。王铎（一五九二－一六五二）原题作阎立本（约六Ο一－六七三）画，今名乃清人胡敬根据《画继补遗》而改订。虽未必为李唐（约一 Ο 七 Ο －一一五 Ο 后）所绘，然画中笔致古朴，且描写真实，原作出自南宋画院中人，当无疑议。各幅均有多处破损，曾经过明代画家的补缀。本次计选展十三幅，依据描绘内容，可分别命名为「被掳」、「成亲」、「怀乡」、「观星」、「夜思」、「家书」、「产子」、「育儿」、「来使」、「送行」、「别后」、「归途」与「返家」。另五幅，因甫于「文艺绍兴特展」中展出，改以放大输图于同室搭配陈列。延伸阅读刘芳如，〈解读文姬归汉册〉，《丹青之间－美的修复与名画论坛》（台北：国立故宫博物院，2010），页125-148。(20110712) 网页展示说明 This album of paintings depicts in sequence the story of how the Eastern Han lady of talent Cai Wenji (162-229) was captured by nomads, her life among them, and her eventual release. A work of narrative art with a historical background comprising eighteen leaves altogether, each has a transcription of one of Cai's "Eighteen Songs of a Nomad Flute" at the top. Wang Duo (1592-1652) originally ascribed this album to the Tang dynasty painter Yan Liben (ca. 601-673), but the attribution nowadays has been revised on the basis of Hu Jing's later attribution from Addendum to Painting, Continued. Although not necessarily a work by Li Tang, the brushwork in the paintings is archaic yet the rendering realistic, making the album undoubtedly from the hand of an artist in the Southern Song Painting Academy. Each leaf has numerous areas of damage retouched by a later artist in the Ming dynasty.Thirteen leaves have been selected for this exhibit. The titles for each, based on the contents depicted, are as follows: "Being Captured," "Being Married," "Nostalgia for Home," "Looking at the Stars," "Evening Thoughts," "Writing Home," "Giving Birth," "Raising Children," "Arrival of the Emissary," "Sending Off," "After the Departure," "On the Way Back," and "The Return Home." The other five leaves, having recently been displayed in the "Dynastic Renaissance" special exhibit, are reproduced here as enlarged pictures. Further Reading (in Chinese):Liu Fangju, "Jiedu Wenji gui Han tu (Interpreting 'Lady Wenji's Return to China')," in Danqing zhi jian: Mei de xiufu yu minghua luntan (Between Painting: The Restoration of Beauty and a Forum on Famous Paintings) (Taipei: National Palace Museum, 2010), pp. 125-148.(20110712) 网页展示说明 「文姫帰汉図」册は、胡人にさらわれた后汉の才女蔡文姫（162-229）の数奇な运命を描いた、歴史物语を主题とした絵画である。全十八幅あり、各幅上部に诗文「胡笳十八拍」が记されている。王铎（1592-1652）は阎立本（601顷-673）の作としたが、清代の胡敬が『画継补遗』を元に改订した。李唐（1070顷-1150以降）の作とは确定できないが、古风で素朴な笔致や真に迫った描写を见ると、南宋画院の画家の作であることは疑いようが无い。各幅に破损箇所が多数あるが、明代の画家によって修缮されている。この度の展覧会では十三幅を展示する。その内容によって「拉致」、「成婚」、「望郷」、「星を眺める」、「もの思う夜」、「家族からの手纸」、「出产」、「育児」、「使者の访れ」、「送别」、「别れの后」、「帰途」、「帰宅」と、それぞれ命名した。ほかの五幅は「绍兴の文芸─南宋の芸术と文化特别展」にて展示されたため、同展示室でその拡大図を合わせて陈列する。関连図书刘芳如「解読文姫帰汉册」、『丹青之间─美の修复と名画论坛』（台北：国立故宫博物院，2010）、125-148ｐ。(20110712)