四
季
四季，是中国文人创作中常见的主题：春夜喜雨、夏露风荷、秋高菊黄、冬
日雪霁……随着时间流转，潮起潮落，季节也有了不一样的味道。
吴中才子唐寅，性格豪侠、颖利，生活浪漫、不羁。极富传奇色彩的他一生
经历了五十四个春夏秋冬，世态炎凉、人间喜悲，种种滋味可以从他的书画
中窥见一斑。
Chinese Scholars made their works with the elements of four
seasons, such as the rain in the spring, the lotus in the summer, the
chrysanthemum in the autumn and the snow in the winter. The seasons
are different with the time changing.
Tang Yin, a noted scholar from Suzhou, was smart, romantic and gallant
in his characters. His 54 years life was a legend. We can tell his sadness
and happiness through his paintings and calligraphy.
史
很久很久以前，明代中期的苏州 地区出现了一批画家，他们继承 元末江南文人画的传统，创立具 有时代气息的文人画新潮流，后 世称之为“吴门画派”。“吴门 画派”历时 150 多年，影响深远。 我们的主角，一代才子唐伯虎就 是“吴门画派”的代表人物之一， 他与沈周、文徵明、仇英一起并 称“吴门四大家”。
Long long ago, there were some painters at Suzhou during the middle Ming Dynasty. They carried on the tradition of the Jiang Nan scholar’s paintings of the later Yuan Dynasty, and created a new trend of scholar’s paintings with spirit of the time. They were called Wu Painting School by the later generations. The School lasted for 150 years and had a great influence. Our hero, Tang Yin, was one of the School’s representatives. He was called the Four Masters of Ming Dynasty together with Shen Zhou, Wen Zhengming and Qiu Ying.
唐寅年轻时候常和好友文徵明一起读书、 学习，出入苏州名士们的社交圈子。在绘 画上，他们也一同向“吴门画派”的创始 人沈周学习。因此，唐寅早期的画作有着“吴 派”温润恬静的风格。
When Tang Yin was young, he read and studied with Wen Zhengming. They appeared in company in the circle of the noted scholars of Suzhou. They also learned from Teacher Shen Zhou, who was the founder of the Wu School. Therefore, Tang Yin painted with the style of Wu School in his early works.
史
唐寅约三十岁以后，拜周臣为师，受到南宋院体绘
画的影响，作品风格有了较大改变。此时，他在绘
画山石时常使用“斧劈皴”，在绘画构图上也明显
受到马远、夏圭的影响，出现了边角式构图。此阶
段，唐寅在山水画中不喜点苔，这成为唐寅中期作
品的一大特色。
唐寅晚年打破门户之见，博采众长，将南北画风及
技法融会贯通、形成自己的风格。最重要的是他从
自然山川及自己游历的亲身感受中汲取营养，使得
他的作品无论笔墨、构图还是意境、气魄都超过了
同时代的画家。
Tang Yin had Zhou Chen as his teacher after he was 30 years old.
His painting style changed with the influence of the official painting
academy style of Southern Song Dynasty. He painted rocks and
mountains with the technique of Fu Pi Cun (ink strokes like axe
chopping). He also used the corner type composition of his painting,
which was influenced by Ma Yuan and Xia Gui. He did not add mosses
in painting, which was another feature of his works in that period.
Later in his life, Tang Yin brought together the northern and
southern painting styles, and created his unique one. More than
that, he absorbed something through his tours to the mountains
and rivers, so he surpassed his contemporaries with unique
stroke,composition, and spirit.
一年之计在于春。春季，是四季之首，也是桃花庵里最美的季节。无论是与好友 一起结伴游山玩水、雅集赋诗，还是独自赏花、饮茶、听泉、抚琴……万物复苏、 欣欣向荣的大好春光都引发唐寅无限的灵感与浪漫的才思。
Spring comes first of the four seasons, and it is the most beautiful season among the four. A year’s plan starts with spring. Tang Yin got his inspiration and romance from the spring activities, such as touring, composing, drinking tea, playing zither and so on.
卧
游
找一找： 这两幅图都与春天有关，找一找与春天有关的细节？猜一猜唐寅和他的朋友们都在做什么？
Find it: These paintings painted spring, find out the spring details, and guess what they were doing?
唐解元的绘画课（一）：
山水画与卧游
The Painting Lessons of Tang Yin (Lesson 1) :
Landscape Painting and Painting Tours
中国画分为人物画、山水画、花鸟画三科。 山水画，以山川自然景观为主要描绘对象，萌 芽于魏晋南北朝时期，隋唐时开始独立，五代、 北宋时趋于成熟。按画法风格分为青绿山水、 水墨山水、浅绛山水等。 中国山水画欣赏讲究“卧游”。“卧游”一 词最早见于南朝宗炳的《画山水序》。古时文 人们欣赏山水作品，虽足不出户，却能“满壁 江山入卧游”，把现实中的交通不便、身老体 疾统统抛到脑后，是何等的自由、畅快！ 为达到山水画“可居、可游”的效果，结合中 国画独特的尺幅形制（如手卷、立轴），古人 创造出一种散点透视的方法。画面的视点随着 纸张的铺陈不断变化，或在平地树下，或在山 间云中，空间与时间不断变化，达到移步换景 的感受。
There are three categories in Chinese painting, which are human figure painting, landscape painting and flower-and-bird painting. The landscape painting depicts the mountains and rivers, which was first painted during the Wei Dynasty, Jin Dynasty, Southern and Northern Dynasties, separated as a painting branch at Sui and Tang dynasties, and matured at Five Dynasties and Northern Song Dynasty. It can be divided into blue and green landscape painting, ink landscape painting and ocher color landscape painting. Painting tour was a kind of painting appreciation. In ancient China, the scholar could tour around the nation by paintings in spite of real difficulties such as transportation, age, handicaps and poverty. What a free and easy way of tour! In order to get an effect of living and touring in the painting, and with the unique shape and size of Chinese painting paper, the ancients invented a special painting technique which was called Scattered Perspective.
花
庵
秋香的画外音（一）：寻访桃花庵
Voiceover of Qiu Xiang (1) : Looking for the Tao Hua An
桃花庵位于苏州城西北角“桃花坞”内。“桃花坞”历史悠久，宋《烬余录》中记载：“入
阊门河而东，循能仁寺、章家河而北，过石塘桥出齐门，古皆称桃花河。河西北，皆桃坞地，
广袤所至，赅大云乡全境。”当时有梅宣义的“梅园”与章楶的“章园”两座毗邻而建
的私家园林，“园林第宅，卓冠一时”。后两园皆因战乱废败。
明弘治、正德年间，“吴门四大家”之一的唐寅以卖画所蓄，购得原章园“桃坞别墅”部分，
种桃树数亩，改名为“桃花庵”，唐寅自号“桃花庵主”，隐居于此，与朋友赏花饮酒，
卖画为生，并作《桃花庵歌》，使其名声大噪。
清顺治初年，名医沈明生购得此地，复建“桃花庵”以表追思，时称“唐家园”或“沈太翁园”。
乾隆年间，改建为宝华庵，光绪年间又改为文昌阁。
今桃花坞大街周边已经重新修葺 , 有唐寅故居。
Located in the Tao Hua Wu, Tao Hua An was at the north-east corner of the Suzhou City. Tao Hua Wu
had a long history, which was recorded in the document of Song Dynasty.
In the time of Hong Zhi and Zheng De reign of Ming Dynasty, Tang Yin bought parts of Tao Wu Villa with
money from his paintings sale, then renamed it Tao Hua An after the planting of some peach trees. Tang
Yin lived there, and called himself the Owner of Tao Hua An.
In early Shun Zhi reign of Qing Dynasty, a noted doctor Shen Ming bought this estate, he renamed it Tao
Hua An in memory of Tang Yin. It was also called Tang Family Garden or Shen Tai Weng’s Garden. In Qian
Long reign, it was rebuilt to Bao Hua An, and in Guang Xu reign, it was rebuilt to Wen Chan Ge.
The Tao Hua Wu Street had been repaired nowadays, and Tang Yin’s home monument was built.
唐寅生性豪放，在他的人生中不乏与朋友把酒言欢的宴会。雨后的夏夜，凉 风习习。池塘里小荷摇曳，岸边柳荫槐高，蝉鸣蛙噪。在这样的夏日夜晚， 曾经在龙虎榜中夺得头筹的唐解元又做着什么样的梦呢？
Tang Yin was easy-going, and he loved to drink with his friends. Summer night after rain, what kind of dream Tang Yin would have while he slept drunk with cool breeze, gentle lotus, tall trees and the noise of cicadas and frogs?
夜
宴
秋香的画外音（二）：
韩熙载与夜宴
Voiceover of Qiu Xiang (2) :
Han Xizai and His Night Banquet
《韩熙载夜宴图》是中国绘画史上的一幅 名画。原作为南唐大画家顾闳中所作，描 绘韩熙载在家中夜宴朋友的场景，作品分： 悉听琵琶、击鼓观舞、更衣暂歇、清吹合奏、 曲终人散五段。画中主角韩熙载为避免南 唐后主李煜的猜疑，故意常在家中夜宴、 嬉游，以此韬光养晦，表现自己只好声色， 并无鸿鹄之志。 虽然时空不同，唐寅却对五百年前韩熙载 放荡潇洒的夜宴生活十分艳羡，对原作进 行临摹，并在一些情节上加入自己的理解 与演绎，在很多细节上进行了富有“明代 趣味”的改编和发挥。
手
卷
唐解元的绘画课（二）：
人物画与手卷
The Painting Lessons of Tang Yin (Lesson 2):
Human Figure Painting and Hand Scroll
人物画是指以人物形象为主体的绘画分科。早在周代，便有以历史人物为内容的壁画， 以作劝善戒恶之用。战国秦汉之后，以历史故事或神话传说为题材的人物画大量涌现， 主要描绘帝王将相、仕女名士、历史风俗、神仙道释等内容。 为了表现美女贵妇们淡扫蛾眉、浅抹胭红的化妆效果，人物画中常常使用“三白法”， 即在人物的额、鼻、下颚，用略厚的白粉渲染，表现面部三个受光的凸出部分。 此外，这幅《韩熙载夜宴图》利用手卷的形式，将人物故事如同连环画一般分段展开。 手卷是传统中国绘画中一种横幅的体式，以能在手中逐段展阅得名。又因尺幅较长，又 称“长卷”。观看时具有一种时间的连续性，巧妙生动。
Human figure painting is a major branch of painting. Early in Zhou Dynasty, there were wall paintings with human figures. After Han Dynasty, human figure paintings were massively created with the subjects of history and legend stories. This painting of Hai Xizai’s Night Banquet tells the story like a comic book. The handscroll is a kind of horizontal painting in traditional China, one can enjoy the painting from right to left in hands. It is also called long scroll.
一叶知秋。秋天虽不乏东篱菊香的雅致，但却多了几分梧桐早凋 的伤感。唐寅少年得志，但也过早地经历了人生的酸甜苦辣。正 如四季轮回，无论春花多么灿烂，夏荫如何浓烈，都不能阻挡瑟 瑟西风带来的阵阵寒意。
Autumn comes with the first falling leaf. Autumn is fertile, and it is also a season for blossom. Meanwhile, there is sadness when plants wither in cold weather. Tang Yin had a very early success, but he suffered failures in his early life. It is just like the seasonal cycle. Nothing can stop the desolation of later autumn and the cold of winter.
手
卷
顾闳中《韩熙载夜宴图》 Han Xizai's Night Banquet
唐寅《临韩熙载夜宴图》 An Imitation of Han Xizai' s Night Banquet
找一找：在唐寅的《韩熙载夜宴图》中 你能找到多少表现夏季的小细节呢？ Find it: How many details about summer can you find out in this painting?
1. 你能找到几把扇子？ How many fans? 2. 代表夏季的人物衣着有哪些？ What kinds of Clothes are there for summer? 3. 代表夏季的水果和食物有哪些？ What kinds of fruits and foods are popular in summer?
找一找：唐寅的这幅画是临摹五代大画 家顾闳中的《韩熙载夜宴图》，原作与 唐寅的摹本有何不同？
Find it: Is there any difference between Tang Yin’ s imitation of Night Banquet of Han Xizai and the original by Gu Hongzhong in Five Dynasties period?
思
秋香的画外音（三）：风木之思
Voiceover of Qiu Xiang (3) : The Remembrance of His Parents
“风木”的典故出自汉代韩婴的《韩诗外传》。原句为：“树欲静而风不止，子欲养而 亲不待也。”比喻父母亡故，不及奉养。这幅画虽是为朋友所作，但唐寅年轻时亦遭遇 丧乱，父亲、妻子、母亲以及刚出嫁的妹妹在两年内接二连三的亡故，使其深感人生无 常，因此在作画时，不免联想到自己的经历，风木之思自然流露笔端。唐寅画中题诗“西 风吹叶满庭寒，孽子无言鼻自酸。心在九泉灯在壁，一襟清血泪阑干”。西风，一般暗 指秋风，应了画中枯木萧萧之感。
The allusion of wind and trees comes from an ancient Chinese poem, which indicates someone’s remembrance of parents. This painting was for one of his friends, but it also told us something about Tang Yin’s misfortune. His father, mother, wife and younger sister died in two years, so when he painted this painting he couldn’t help thinking about his family. He used the word West Wind in order to depict depression of Autumn
物
言
志
花鸟画，指以花、鸟、虫、鱼、禽兽等动植物形象为描绘对象的中国画。东晋画家刘胤祖，
是已知的第一位花鸟画家。经唐、五代、北宋，花鸟画完全发展成熟。画法有“工笔”、
“写意”、“兼工带写”、“没骨”等几种。
中国古代，文人们喜爱托物言志，将植物赋予拟人化的个性与品格。菊花与隐逸的典故
出自东晋诗人陶渊明。陶渊明天性无拘无束，与当时盛行的清静无为的老庄思想一拍即合，
他放弃官职，归隐田园，是中国历史上最早的隐逸诗人。陶渊明酷爱菊花，写下多首咏
菊的诗篇，其中“采菊东篱下，悠然见南山”，以菊花明心境，成为脍炙人口的佳句。
Flower-and-bird painting is a branch of Chinese painting which depicts the flowers, birds, insects, fishes
and animals. Liu Yingzu, an East Jin Dynasty painter was known as the first flower-and-bird painter.
In ancient China, people liked to say something by describing the concrete objects, such as giving a
plant the human personality or character. The chrysanthemum was given the character of seclusion by
the poem of Tao Yuanming. Tao Yuanming was free in nature. He resigned from his official career and
lived as a hermit in the country. He was the first hermit poet as we know. Tao Yuanming loved the
chrysanthemum, and had written many poems about it. The most famous one has the sentence as
I was picking the chrysanthemum leisurely while I saw the Nan Shan Mountain.
唐寅《菊花图》
Chrysanthemum
三九寒冬，万物萧条，天地间茫茫一片，再无颜色，偶尔有几只寒 鸦在枯木间跳动。晚年唐寅生活潦倒，但即便是人生苦旅，也阻挡 不了一代才子对艺术的追寻与探索。
Winter is cold and empty; there were only some crows on the trees. Tang Yin lived in poverty in his later years, but this could not stop him from the pursuit and exploration of art.
旅
秋香的画外音（四）： 唐寅的人生苦旅
Voiceover of Qiu Xiang (4) ： Life Journey of Tang Yin
唐寅一生大起大落，虽因才华禀赋为世人称颂，但也尝尽了世态
炎凉的心酸。
弱冠之年（二十几岁）因亲人的亡故，一夜白头，经历了人生的初寒。
而立之年（三十岁左右），南京夺魁的荣耀还在眼前，科场舞弊
的巨浪却把他打得人仰马翻，开启了人生的严冬。不惑之年（四十五
岁左右）遭受宁王的蒙骗，差点走上了参与谋反的不归路。嘉靖
二年冬，年逾知命（五十四岁）的唐寅，在饱经人生风雨之后在
桃花庵中与世长辞。
他的一生中，艺术是唯一陪伴其终身的伙伴，不管是得志时的泼
墨挥毫，还是失意时的以笔资身，他一生所追求的洒脱与自由在诗、
书、画的世界中得以实现，并使其扬名海内，千古流芳。
Tang Yin marked himself ups and downs in his life. Praised by the people for
his talents. He also swallowed the sadness because of the fickleness of the
world.
He lost his family at his twenties, which made his hair going white overnight.
At his thirties, he was stricken by the cheating affair in the imperial examination
in spite of his great success in the provincial examination at Nanjing. This
began his downturn of life. At his forties, he was fooled by King Ning Wang,
nearly made a crime as rebellion. At his fifty-four, Tang Yin passed away, after
all the happiness and suffering of his life, in his Tao Hua An.
唐寅《雪林寻诗图》
Landscape of Snowy Winter
骤
与
留
白
Draw the tree
唐解元的绘画课（四）：山水画的步骤与留白
The Painting Lessons of Tang Yin (Lesson 4) :
The steps of landscape painting and the technique of leaving blank
画山水必先画树，《芥子园画谱》曰“古人作画千岭万壑，不难一挥而就，独于看家本
树大费经营”，可见树在山水画中的重要性。冬天的树一般作枯树，表现萧瑟之感。同
时枯树也是所有树的基础，在枯树枝上画上不同形状的叶点，就可以生出千姿百态的树来。
There must be trees painted before you start a whole landscape painting. The mountains are easy
to draw, but the trees are difficult to compose. The winter trees are always withered to represent the
coldness. The withered tree is also the foundation of all kinds of trees. Various trees are created by
adding branches and dots on the wither trees.
骤
与
留
白
Draw the tree
骤
与
留
白
Draw the mountains
宋代人郭熙在《林泉高致》中说：“山有三远，自山下而仰山巅，谓之高远。自山前而窥山后，
谓之深远。自近山而望远山，谓之平远。高远求山势突兀，深远显山势重叠，平远之致
现山势冲融。”
In Song Dynasty, Guo Xi suggested a theory of mountain painting from his thesis about Remoteness.
The thesis explored three ways of perspective.