描繪了韓熙載與賓客們正在聆聽彈奏琵琶的情景，畫家著重地表現(xiàn)演奏剛開始，全場氣氛凝注的一剎那。畫上每一個人物的精神和視線，都集中到了琵琶女的手上，結(jié)構(gòu)緊湊，人物集中。但人們斂聲屏氣的神情中使場面顯得十分寧靜，從這彈奏琵琶的手上，似乎傳出了美妙清脆的音符，而這音符震動著觀眾的耳膜，勾攝了他們的內(nèi)心情感。畫家對于不同的人物，根據(jù)他們不同的身份和年齡，刻劃出他們各自不同的姿態(tài)、性格和表情，顯示出作者不同凡響的畫藝。此段出現(xiàn)人物最多，計有七男五女，有的可確指其人，彈琵琶者為教坊副使李佳明之妹，李佳明離她最近并側(cè)頭向著她，穿紅袍者為狀元郎粲。另有韓的門生舒雅、寵妓弱蘭和王屋山等。
It depicts Han Xizai and his guests listening to the pipa playing. The painter focuses on the moment when the performance begins and the atmosphere of the whole audience is concentrated. The spirit and sight of each character in the painting are all focused on the hands of the pipa girl, with compact structure and concentrated characters. But people's breathless expression makes the scene very quiet. From the hand playing the lute, it seems that there are beautiful and crisp notes, which shake the audience's eardrum and capture their inner feelings. For different characters, artists carve out their different postures, personalities and expressions according to their different identities and ages, showing the author's extraordinary painting skills. There are seven men and five women in this passage, some of whom can be identified. The pipa player is the younger sister of Li Jiaming, the Deputy envoy of the Jiaofang. Li Jiaming is closest to her and faces her. The red robed one is Lang can, the number one scholar. Another Han's students Shu Ya, pet prostitute weak LAN and Wang Wu Shan.
描繪的是宴會進(jìn)行中間的休息場面，人物安排相對松散。韓熙載在侍女們的簇?fù)硐绿稍趦?nèi)室的臥榻上，一邊洗手，一邊和侍女們交談著，也是整個畫卷所表現(xiàn)的夜宴情節(jié)的一個間歇，整體氣氛舒緩放松。
It depicts the rest scene in the middle of the banquet, and the arrangement of the characters is relatively loose. Han Xizai, surrounded by the maids, lies on the couch in the inner room, washing his hands while talking with the maids. It is also an intermission of the banquet plot shown in the whole picture, and the overall atmosphere is relaxed.
乾隆初此畫從私家收藏轉(zhuǎn)入清宮，著錄于《石渠寶笈初編》，1921年溥儀從宮中攜出變賣，后張大千購得，帶到香港。20世紀(jì)50年代又從香港私家購回，入藏北京故宮博物館。
At the beginning of Qianlong, the painting was transferred from private collection to the palace of Qing Dynasty, and was recorded in the first edition of Shiqu Baoji. In 1921, Puyi brought it out of the palace and sold it. Later, Zhang Daqian bought it and brought it to Hong Kong. In the 1950s, he bought it back from Hong Kong and collected it in Beijing Palace Museum.
作品造型準(zhǔn)確精微，線條工細(xì)流暢，色彩絢麗清雅。不同物象的筆墨運用又富有變化，尤其敷色更見豐富、和諧，仕女的素妝艷服與男賓的青黑色衣衫形成鮮明對照。有巨大的收藏價值。
The shape of the work is accurate and delicate, the lines are fine and smooth, and the colors are gorgeous and elegant. The use of brush and ink of different objects is also full of changes, especially the application of color is more rich and harmonious. The plain makeup of ladies is in sharp contrast to the blue and black clothes of men. It has great collection value.
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