唐寅字伯虎，更字子畏，號(hào)桃花庵主，魯國(guó)唐生，逃禪仙史，南京解元，江南第一風(fēng)流才子等。晚年信佛，有六如居士等別號(hào)。吳縣（今江蘇蘇州）人。生于明憲宗成化六年（1470年），卒于明世宗嘉靖二年（1523年）。“明四大家”之一唐寅，被譽(yù)為明中葉江南第一才子。他博學(xué)多能，吟詩(shī)作曲，能書善畫，經(jīng)歷坎坷。是中國(guó)繪畫史上杰出的大畫家。
Tang Yin, Bo Hu, Geng Ziwei, Taohua nunnery, Tang Sheng of Lu state, history of escaping from Zen, Jieyuan of Nanjing, the first talented person in Jiangnan, etc. In his old age, he believed in Buddhism and had the nickname of "six monks". Wu county (now Suzhou, Jiangsu) people. He was born in the sixth year of Chenghua (1470) of Xianzong of Ming Dynasty and died in the second year of Jiajing (1523) of Shizong of Ming Dynasty. Tang Yin, one of the four great masters of the Ming Dynasty, is known as the first talented man in the south of the Yangtze River in the middle of the Ming Dynasty. He is erudite and versatile. He can recite poems and compose music. He is good at painting and calligraphy. He has experienced ups and downs. He is an outstanding painter in the history of Chinese painting.
【藏品名稱】：明代唐寅仕女圖（執(zhí)扇）
[collection name]: picture of Tang Yin's ladies in Ming Dynasty (holding fan)
唐寅的人物畫，大致未逾南宋人物畫的格局。表現(xiàn)在體貌上有兩種。一是意興瀟灑，遠(yuǎn)筆如行云流水，出自南宋梁楷、法常，并具有元人氣息的如《東方朔偷桃圖》、 《秋風(fēng)紈扇圖》。另一為線條細(xì)勁，敷色妍麗，氣質(zhì)高華，出白南宋院體的有《孟蜀宮伎圖》、《簪花仕女圖》以及這幅仕女圖。
Tang Yin's figure painting generally did not surpass that of the Southern Song Dynasty. There are two kinds of physical appearance. First, it is free and unrestrained, with a long writing style like running clouds and flowing water. It comes from Liang Kai and FA Chang of the Southern Song Dynasty, and has the flavor of Yuan people, such as the picture of dongfangshuo stealing peaches and the picture of Qiu Fengwan fan. On the other hand, it has fine lines, beautiful colors and high temperament. There are "the painting of Meng Shu palace opera", "the painting of hairpin flower lady" and this painting of lady in the court of the Southern Song Dynasty.
此幅唐伯仕女圖，美女的工筆設(shè)色巨畫，其構(gòu)思設(shè)想大膽，創(chuàng)意細(xì)膩，人物優(yōu)美，筆墨功底一流，原漿老墨用敦輝之墨，其千年不掉，原裝老裱，安徽晉縣之產(chǎn)，孤品再現(xiàn)，收藏大觀，名師點(diǎn)評(píng).
This picture of Tang Bo's ladies is a giant painting of fine brushwork and color setting of beautiful women. It is bold in conception, delicate in originality, beautiful in character, first-class in brushwork and ink skills. The original ink is dunhui ink, which has been used for thousands of years. It's original old mounting, a product of Jin county, Anhui Province. It's unique in reproduction, collection and comments by famous teachers
整幅仕女圖圖繪高髻簪花女子，或站立或側(cè)臥露出無(wú)限眷惜之意，一切都是那么的自然，恰到好處，非常的融合。仕女形象娟秀端麗，眉目和發(fā)髻鉤勒精細(xì)，暈染勻整，具北宋李公麟圓細(xì)流利之筆；衣紋線條遒勁暢利，又吸取南宋李唐及元人剛健方折的筆法，具有剛?cè)嵯酀?jì)，工寫并用的特點(diǎn)，創(chuàng)明代仕女畫的新典型。唐伯虎一生也畫過不少虎的作品，像《臥虎圖》《下山虎圖》等，仕女千姿百態(tài).體態(tài)豐盈，舉止有安詳之態(tài)，頭部勾勒精人暈染勻凈，似富貴人家少婦。畫臉、手等處流麗圓暢，而衣裙、披肩、腰帶則以飄舉方折之筆出之，這種方圓兼施富有對(duì)比的筆法，增強(qiáng)了這位少婦輕移蓮步的動(dòng)態(tài)美。設(shè)色淺淡清雅，而披肩和花草的葉子卻用淺淺的藍(lán)色，兩色相映襯，使畫中人愈加顯得明麗可人。更為驚奇的是把字畫放大以后，仕女之前披著的紗消失不見，好似裸體一樣，足以說(shuō)明唐寅的這幅畫達(dá)到了畫藝的頂峰.唐寅一生仕途不順，老婆去世之后對(duì)美女看的很重，說(shuō)明他雄心未遂，藝高人俊，寧愿被美女踩在腳下，任她去寵去愛。
The whole picture of a lady with a hairpin in a high bun, or standing or lying on one's side, shows infinite affection. It's all so natural, just right and very integrated. The image of a lady is beautiful and elegant, with fine eyebrows and bun, even and smooth halo dyeing. It has the fine and fluent pen of Li Gonglin of the Northern Song Dynasty. The lines of clothes are strong and smooth, and the strokes of Li Tang and Yuan people are absorbed. It has the characteristics of combination of hardness and softness, and combination of work and use, creating a new model of the painting of a lady in the Ming Dynasty. Tang Bohu has also painted many tiger works in his life, such as the painting of lying tiger and the painting of going down the mountain tiger. The ladies are of various shapes. They are full-bodied and have a peaceful manner. Their heads are well-defined, and they are like rich young women. The painting of face, hands and other places is beautiful and smooth, while the dress, shawl and belt are made with the brush of floating square fold. This kind of square and round brush technique is full of contrast, which enhances the dynamic beauty of the young woman's light lotus step. The colors are light and elegant, while the shawl and the leaves of flowers and plants are light blue. The two colors set off each other, making the people in the painting more beautiful. What's more surprising is that after enlarging the calligraphy and painting, the gauze before the lady disappeared, just like naked, which is enough to show that Tang Yin's painting reached the peak of painting art. Tang Yin's career was not smooth all his life. After his wife died, he was very heavy on the beauty, which shows that he was ambitious and had a good talent. He would rather be trampled by the beauty and let her love him.
唐寅作品由于年代久遠(yuǎn)已經(jīng)存世不多，此唐寅仕女圖（執(zhí)扇）以前多散傳于民間，解放后各大博物館多注意收藏，但流入海外亦多。從80年代末始，世界兩大拍賣行開始經(jīng)營(yíng)出售其作品。由于他在人們心 中有很高的知名度，所以許多人愿意花重金收藏其作品。
Tang Yin's works have not existed for a long time. This picture of Tang Yin's Ladies (holding fans) was widely spread among the people before. After the liberation, many museums paid more attention to collection, but also went abroad. Since the late 1980s, the world's two major auction houses began to sell their works. Because of his high popularity in people's mind, many people are willing to spend a lot of money to collect his works.
