书体:

色彩:

设色

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅绢拖尾一纸拖尾二纸

释文:

印记资料:

收传印记：赵氏子昂
收传印记：鲜于
收传印记：华氏补菴
收传印记：郎邪王氏世宝
收传印记：乐贤堂宝
收传印记：焕章阁宝（半印）
收传印记：清问斋图书记（重二）
收传印记：（一印不识）

题跋资料:

题跋类别：作者款识；作者：周昉；题跋位置：本幅；款识：汝南周昉造；书体：楷书；全文： 印记：周□□印（半印）

题跋类别：题跋；作者：李倜拖尾员峤；书体：行书；全文：景元周君妙迹。世不多见。馀所所（点去）见者。簪花图长轴。对镜写容图一卷。于此三矣。皆真蹟之尤佳者也。或有之迺赝本。宋人摹倣之耳。君宜善宝藏之。员峤。印记：员峤真逸

题跋类别：题跋；作者： 拖尾 ；书体：篆书；全文：莲华博士观于听松风处。印记：莲华博士

题跋类别：题跋；作者：鲜于枢拖尾鲜于枢伯机父记；书体：草书；全文：至正十三年春二月之望前三日。获观于城西王氏宝玩楼中。鲜于枢伯机父记。印记：鲜于

题跋类别：题跋；作者：苏又晋拖尾江左实居士苏又晋；书体：行书；全文：右观灯图一卷。神彩生动。气韵高古。为唐周昉景元真蹟。按传丹青中最工仕女。尤为得神。韩干莫能及。今观此图。真能发挥其雅。仕女之明眸善睐。婴孩之嬉戏态度。器皿陈设古雅。宛似上元景象。曲尽其妙。非昉不能也。太朴危公处。借观旬日不忍释手。漫识数语而归之。江左实居士苏又晋。印记：实居士

题跋类别：题跋；作者：沈度拖尾永乐庚寅夏日沈度题；书体：楷书；全文：画擅六艺。各师一家。惟人物最为不易。非写生在手者。未能善也。馀于殆无间言矣。盖景元作画。并不轻于落笔而随物肖形。设色神化。毫无斧凿之意。故世特宝重之。今观此图。信乎名下无虚也。永乐庚寅夏日沈度题。印记：沈度、沈氏民则

题跋类别：题跋；作者：唐寅拖尾正德丁卯春日。晋昌唐寅观。；书体：行书；全文：正德丁卯春日。晋昌唐寅观。

主题:

主要主题：人物仕女 主要主题：人物孩童 主要主题：器用灯(宫灯)提灯、吊灯、走马灯；次要主题：建筑庭院 ；其他主题：山水奇石 ；其他主题：树木  ；其他主题：建筑栏杆 ；其他主题：器用家俱（屏风） ；其他主题：器用饮食器壶、碗、盘；其他主题：器用花器 ；其他主题：器用乐器琵琶、笛、琴、响板；其他主题：器用文玩（琴棋书画）书画

技法:

工笔 界画 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页30 收藏着录： 故宫书画图录，第十五册，页77-80 内容简介（中文）： 周昉，德宗（西元七八０—八０四在位）时陜西长安人。字仲朗，或谓景玄。官至宣州长史，好属文，能书，善画道释、人物、仕女，初效张萱，后则小异，所作人物，颇饶风姿。农历正月十五日为元宵，旧俗是夜张灯为戏，所以也称为灯节。本卷正描绘此一时节，庭院中，孩童拉持花灯戏耍，仕女相聚奏乐为乐之景。花灯的种类及其形式上的描绘，极为细腻，惟人物面容、衣饰与传世所见「周家样」不类，此卷应为后人所仿。 内容简介（中文）： 农历正月十五日为元宵，旧俗是夜张灯为戏，所以也称为灯节，本卷正描绘此一时节。画中三位女子合奏之场景，扑向母亲怀抱的孩童，及桌上的跑马灯与地上的大象花灯等细节，都与院藏另外一幅传为李嵩之〈观灯图〉类似，后者保留更多明代中期唐寅、杜菫风格。两者应该都是明中期以后苏州画坊的仿古作品，其特色之一即是将当时流行的母题拼凑成不同之画作，以达到商业生产之目的。(20100710) 内容简介（英文）： The 15th day of the first lunar month is known as Yuanxiao, when in the past as today people go out at night and enjoy lanterns, hence the popular name “Lantern Festival.” This scroll depicts the event. Details here—such as the 3 ladies playing music, the child dashing to its mother’s embrace, and the running horse lantern on the table and elephant lantern on the ground—are all like another work in the Museum collection, “Viewing Lanterns” attributed to Li Song, except the latter preserves more middle Ming (1368-1644) styles of Tang Yin and Du Jin. Both were likely done in commercial Suzhou studios of the post-mid-Ming era. One characteristic is the recombination of popular motifs into different arrangements to increase production.(20100710) 内容简介（英文）： Chou Fang (style names Chung-lang and Ching-hsuan) served as Senior Scribe in Hsuan-chou. He enjoyed writing essays and composing poetry, and he excelled in painting Taoist and Buddhist figures as well as female beauties. He started by studying the style of Chang Hsuan, but later made changes to develop his own style of figure painting. The fifteenth day of the first month of the lunar calendar is called Yuan-hsiao. According to popular tradition, it is a night of hanging lanterns and is therefore called the Lantern Festival. This scroll is a depiction of this festival. Children play with lanterns in a courtyard. Ladies gather together to play musical instruments. The lanterns, highly decorated and varied in shape, have been painted in great detail. The treatment of the faces and the clothing of the figures, however, seems different from that in paintings generally accepted as representative of Chou Fang's style. This painting must therefore be copy by a later artist.