仇英（約 1494-1552）〈漢宮春曉〉（國立故宮博物院藏）以長卷表現宮女們的不同活動，人物描繪細膩，構圖巧妙，為仇英仕女畫傑作。畫中部份段落與存 世仕女畫如傳五代顧閎中（活動於 10 世紀中葉）〈韓熙載夜宴圖〉、傳五代周文矩（約活動於 961-975）〈宮中圖〉、傳唐代張萱（約活動於 8 世紀）〈搗練圖〉等作品相仿。從仇英與十六世紀收藏界的密切關係來看，〈漢宮春曉〉應為臨摹古畫後的創作。然而，明代在仇英之前已有杜堇（約 1444- 約 1521）畫〈仿唐人仕女圖〉（上海博物館藏），兩幅皆為「宮廷春曉」題材的仕女畫。本文即藉此探討仇英〈漢宮春曉〉與「宮詞」文學傳統密不可分的關聯，以及此作受《宮詞》組詩影響，描繪宮廷仕女各式活動於一長卷，成為表現宮中行樂主題的獨特作品。

Qiu Ying’s (ca. 1494-1552) Spring Dawn in the Han Palace (collection of the National Palace Museum) is a long handscroll painting depicting various activities among palace ladies. The rendering of the figures is meticulous and the composition skillfully arranged, making this a masterpiece of painting beauties by Qiu Ying and a representative work of his. Portions of the composition are also related to those in other extant works, such as Night Revels of Han Xizai attributed to Gu Hongzhong (fl. mid-10th c.) of the Five Dynasties period (collection of the Palace Museum, Beijing) and In the Palace attributed to Zhou Wenju (fl. ca. 961-975) of the Five Dynasties period (sections of which are in Cleveland Museum of Art, the Metropolitan Museum of Art, the Villa I Tatti, and the Harvard Art Museum). Judging from Qiu Ying’s close relationship with collectors, Spring Dawn in the Han Palace is probably a work that reflects his copying of ancient paintings. However, previous to Qiu Ying, are such works as Imitating a Tang Artist’s Lady Painting by Du Jin (ca. 1444-ca. 1521) in the Shanghai Museum, indicating that the theme of painting court ladies at this time did not begin with Qiu. The present study thus intends to explore the intimate relationship between Spring Dawn in the Han Palace and the literary tradition of “palace poem” sets, in particular the influence of the latter on the former, to show how the depiction of various activities of ladies in the palace in a single composition derived from such and became a unique form of expression in the painting of beauties.

仇英；漢宮春曉

Qiu Ying；Spring Dawn in the Han Palace