雍正“十二美人圖”

2013-11-26 08:53

來(lái)源:百度作者:佚名點(diǎn)擊:次

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　　清人所畫(huà)《雍正十二美人圖》，據傳畫(huà)中人物的原型是雍正的皇后烏拉那拉氏。

(責任編輯：陳冬梅)

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<h2>博古幽思。仕女坐于斑竹椅上垂目沉思。身側環(huán)繞著(zhù)陳設各種器物的多寶格。多寶格上擺放的各種瓷器，如“仿汝窯”瓷洗、“郎窯紅釉”僧帽壺，以及青銅觚、玉插屏等，均為康熙至雍正時(shí)期最盛行的陳設器物，具有典型的皇家的富貴氣派。</h2>
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<h2>倚門(mén)觀(guān)竹。庭院中花草竹石滿(mǎn)目，并擺放著(zhù)香蘭、月季等各色盆景，爭奇斗艷，以婀娜的姿態(tài)點(diǎn)綴出俏麗的景致。仕女倚門(mén)觀(guān)望著(zhù)滿(mǎn)園春色，舉止間似乎流露著(zhù)淡淡的嘆春情懷。</h2>
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<h2>裘裝對鏡。仕女身著(zhù)裘裝，腰系玉佩，一手搭于暖爐御寒，一手持銅鏡，神情專(zhuān)注地對鏡自賞，“但惜流光暗燭房”的無(wú)奈之情溢于眉間。</h2>
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<h2>持表對菊。仕女手持精美的琺瑯表坐于書(shū)案旁。桌上瓶中插有菊花，點(diǎn)明了時(shí)值八月時(shí)節。菊花清高典雅，是秋季重要的觀(guān)賞花卉，被賦予堅貞、益壽等含義，同時(shí)又以其素凈優(yōu)雅的自然美而成為女性的頭飾或居室的點(diǎn)綴品。</h2>
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<h2>捻珠觀(guān)貓。仕女于圓窗前端坐，輕倚桌案，一手閑雅地捻著(zhù)念珠，正觀(guān)賞兩只嬉戲頑皮的貓咪。窗下鐘聲滴答，近處貓咪玩鬧，時(shí)光便在這似有似無(wú)中悄悄流逝。</h2>
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<h2>烘爐觀(guān)雪。仕女臨窗而坐，輕掀帳帷，觀(guān)雪賞梅。戶(hù)外翠竹披霜帶雪，遇寒不凋，顯現出頑強的生命力;白色臘梅則以“萬(wàn)花敢向雪中擊，一樹(shù)獨行天下春”的風(fēng)韻盡情綻放。</h2>
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<h2>立持如意。仕女手持如意，立于庭院內賞花。竹籬處繁花似錦，花團錦簇。畫(huà)家著(zhù)重突出了紫、粉、白、紅等各色牡丹。牡丹以雍容華麗、香味濃郁而被稱(chēng)作“百花之王”，并成為吉祥富貴、繁榮昌盛的象征，結合女子手中所持的竹雕靈芝如意，蘊含了“富貴如意”的美好愿望。</h2>
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<h2>桐蔭品茶。仕女手持薄紗紈扇，坐于茂密的梧桐樹(shù)下靜心品茶。茶飲原是一種日常飲食行為，由于品茶論道的盛行，而成為歷朝文人士大夫中的風(fēng)雅之事，逐漸提高了茶的境界。</h2>
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<h2>觀(guān)書(shū)沉吟。女子持半展書(shū)頁(yè)，沉吟瞬間。背景以設色山水小景、橫幅墨筆摹寫(xiě)的宋代著(zhù)名詩(shī)人、書(shū)法家米元章的詩(shī)為裝飾。</h2>
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<h2>消夏賞蝶。戶(hù)外湖石玲瓏，彩蝶起舞，萱草含芳。室內仕女手持葫蘆倚案靜思。</h2>
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<h2>燭下縫衣。清風(fēng)徐徐，紅燭搖曳，仕女勤于女紅，在燭光下行針走線(xiàn)。女紅包括紡織、刺繡、縫紉等，古代隸屬于衡量女子“四德（婦德、婦言、婦功、婦容）”中的“婦功”，是評價(jià)女子品行高低的重要標準之一。</h2>
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