中國(guó)歷史悠久，國(guó)畫(huà)杰作眾多，價(jià)值連城。有些畫(huà)作在戰(zhàn)爭(zhēng)中損毀或遺失，但更多畫(huà)作傳世千年，現(xiàn)藏于國(guó)內(nèi)外各大博物館。此文輯錄的是中國(guó)十大傳世名畫(huà)：

Nymph of the Luo River
《洛神賦圖》

Artist and writer Gu Kaizhi (ca. 344–406) painted Nymph of the Luo River on a long silk scroll during the Eastern Jin Dynasty (317–420). The narrative scroll, from which four copies dating to the Song Dynasty (960–1279) survived (now exhibited in Beijing, Liaoning and Washington), illustrates the poem Ode to the Nymph of the Luo River, written by Cao Zhi (192–232).
《洛神賦圖》為東晉（317—420）畫(huà)家和詩(shī)人顧愷之（約344—406）所作，絹本，長(zhǎng)卷。這幅敘事畫(huà)卷乃據(jù)曹植（192—232）的《洛神賦》而作。有四件宋（960—1279）摹本傳世，分別藏于北京、遼寧省和華盛頓。

It is a large scroll that should be “read” horizontally, depicting the love story between the poet and the nymph, from their meeting to their parting.
這幅古畫(huà)為長(zhǎng)卷，需橫覽，繪曹植與洛神自邂逅定情到分別的愛(ài)情故事。

Emperor Taizong Receiving the Tibetan Envoy
《步輦圖》

Emperor Taizong Receiving the Tibetan Envoy depicts the meeting of Emperor Taizong of the Tang Dynasty (618–907) and Ludongzan, Gar Tongtsen Yulsung, an envoy sent by Songtsan Gampo (617–650), the ruler of Tibet, to accompany Princess Wencheng back to Tibet to be his queen. Yan Liben (601–673), the artist who created this painting, was one of the most revered Chinese figure painters in the early years of the Tang Dynasty.
《步輦圖》為唐朝（618—907）初期最受尊崇的人物畫(huà)家閻立本（601—673）所繪，以吐蕃王松贊干布（617—650）迎娶文成公主入藏為背景，描繪了吐蕃使臣祿東贊晉見(jiàn)唐太宗時(shí)的場(chǎng)景。

The ink and colour on silk handscroll, 129.6 cm long and 38.5 cm wide, is now in the collection of the Palace Museum in Beijing.
此畫(huà)縱38.5 厘米，橫129.6 厘米，手卷，絹本設(shè)色，現(xiàn)藏于北京故宮博物院。

Noble Ladies in Tang Dynasty
《唐宮仕女圖》

Noble Ladies in Tang Dynasty are a serial of paintings drawn by Zhang Xuan (713–755) and Zhou Fang (ca. 730–800), two of the most influential figure painters of the Tang Dynasty, when the paintings of noble ladies became very popular.
《唐宮仕女圖》是張萱（713—755）、周昉（約730—800）所繪的一組畫(huà)。二人為唐代人物畫(huà)名家，當(dāng)時(shí)仕女畫(huà)風(fēng)行。

The paintings depict the leisurely, lonely and peaceful life of the ladies at court, who are shown to be beautiful, dignified and graceful. Four most-renowned paintings in the serial are Portrait of Lady of Guo Going Sightseeing in Spring (by Zhang Xuan), Court Ladies Preparing Silk (by Zhang Xuan), Court Ladies Adorning Their Hair with Flowers (by Zhou Fang), Court Ladies Swinging Fans (by Zhou Fang).
此畫(huà)描繪了宮廷仕女閑靜寥落的生活，人物優(yōu)美、典雅、端莊。這組畫(huà)中最著名的四幅作品是張萱所作《虢國(guó)夫人游春圖》、《搗練圖》以及周昉所作《簪花仕女圖》、《揮扇仕女圖》。

Zhang Xuan used fine brushwork to make paintings of people and was especially good at painting noble ladies, infants and pommel horses. Zhou Fang was influenced by the pure and detailed style of the Jin Dynasty artist Gu Kaizhi, and his portrayals of court ladies are characterized by round faces and plump figures.
張萱以工筆人物寫(xiě)生見(jiàn)長(zhǎng)，尤其擅繪仕女、嬰兒和鞍馬。受顧愷之影響，周昉的畫(huà)風(fēng)不求藻飾，注重細(xì)節(jié)，仕女造型以面容圓潤(rùn)、體態(tài)豐腴為主要特征。

The paintings are now kept in several museums around China.
這組畫(huà)現(xiàn)藏于國(guó)內(nèi)幾家博物館。

Five Oxen
《五牛圖》

Five Oxen, a painting by renowned Tang Dynasty artist Han Huang (723–787), is housed in the Palace Museum in Beijing.
《五牛圖》為唐代著名畫(huà)家韓滉（723―787）所作，藏于北京故宮博物院。

Han Huang was born in Chang’an during the reign of Emperor Xuanzong (685–762), and served as a chancellor during the reign of Emperor Dezong (742–805).
韓滉生于唐玄宗（685—762）開(kāi)元年間，長(zhǎng)安人，唐德宗（742—805）年間任宰相。

Han was renowned for painting people and animals with detailed facial expressions. He was especially distinguished at painting agricultural life and livestock, including oxen and goats.
韓滉以人物、畜獸畫(huà)著稱，神態(tài)刻畫(huà)細(xì)致入微，對(duì)田家風(fēng)俗和牛羊等家畜的描摹尤其出色。

Five Oxen is 139.8 centimeters long and 20.8 centimeters wide. The painting, as the name suggests, is of five oxen without any background. The oxen are positioned in a line, each with distinctive appearance, walking or standing, holding their heads high or low. The oxen have bright, piercing eyes and different temperaments: lively, docile, romping and even eccentric.
《五牛圖》縱20.8 厘米，橫139.8 厘米。顧名思義，畫(huà)的是五頭牛，畫(huà)面上沒(méi)有背景襯托。五頭牛一字排開(kāi)，各具狀貌，姿態(tài)互異：或行，或立，或俯首，或昂頭。五牛瞳眸炯炯有神，性情各不相同：活潑、溫順、喧鬧甚或乖僻。

The Night Revels of Han Xizai
《韓熙載夜宴圖》

The Night Revels of Han Xizai by Southern Tang (937–975) artist Gu Hongzhong reproduces the historical scene of Southern Tang Minister Han Xizai’s evening banquet. It shows the host and guests, singing and dancing, laughter and joy, as well as the protagonist’s detachment and a sense of gloom. The surviving copy is a 28.7 cm × 335.5 cm, ink and color on silk handscroll made during the Song Dynasty, and is now housed in the Palace Museum in Beijing.
《韓熙載夜宴圖》為南唐（937—975）畫(huà)家顧閎中所作，再現(xiàn)了南唐大臣韓熙載夜宴賓客的歷史場(chǎng)景，描繪了宴會(huì)上主客揉雜、彈絲吹竹、清歌艷舞、調(diào)笑歡樂(lè)的場(chǎng)面，又刻畫(huà)了主人公超脫不羈、沉郁寡歡的性格。現(xiàn)存宋摹本手卷，絹本設(shè)色，縱28.7 厘米，橫335.5 厘米，現(xiàn)藏于北京故宮博物院。

Han Xizai (902–970) was a scholar-official of the Southern Tang court. As he wanted to save himself from a delicate political situation, Han pretended to live a dissolute life, so as to dispel Emperor Li Yu’s (937–978) doubts and suspicion.
韓熙載（902—970）， 南唐文臣。他為了從復(fù)雜的政治局勢(shì)中脫身，消除后主李煜（937—978）對(duì)自己的猜忌，假裝過(guò)著放蕩的生活。

Gu Hongzhong (910–980) was a court-painter in the painting academy of the Southern Tang Dynasty during the Five Dynasty and Ten Kingdoms period (907–979). Emperor Li Yu sent Gu to spy on one of Han’s sumptuous parties, leading Gu to produce this famous artwork.
顧閎中（910—980）， 五代十國(guó)（907—979）南唐畫(huà)家，任南唐畫(huà)院宮廷畫(huà)師。后主李煜派其潛入韓府偷看韓熙載夜宴的奢華場(chǎng)面。顧閎中因此繪制出這幅名畫(huà)。

This narrative painting is split into five distinct sections: Han Xizai listens to the pipa, watches dancers, takes a rest, plays string instruments, and then sees guests off. It shows precise portraits of more than 40 figures with fine and continuous brush lines and delicate colors.
該敘事畫(huà)卷分為五段場(chǎng)景，即聽(tīng)樂(lè)、觀舞、暫歇、清吹、散宴。作品描繪了40 多個(gè)人物，造型準(zhǔn)確精微，線條工細(xì)流暢，色彩絢麗清雅。

The work was not only a painting about personal life, but also represented many features from that period.
這幅畫(huà)不僅展現(xiàn)了韓熙載的個(gè)人生活，也反映了那個(gè)時(shí)代的多種風(fēng)情。

A Thousand Li of Rivers and Mountains
《千里江山圖》

Wang Ximeng, a teenage artist during the Song Dynasty of China, painted A Thousand Li of Rivers and Mountains in 1113. Wang studied landscape painting at the Imperial Painting Academy, and was taught personally by Emperor Huizong of Song. He was only 18 years old when he painted this artwork, and he passed away probably around the age of 20.
北宋政和三年（1113 年），少年畫(huà)家王希孟繪制了《千里江山圖》。王希孟曾入畫(huà)學(xué)為生徒，工山水，得宋徽宗親授。他創(chuàng)作此畫(huà)時(shí)年僅18 歲，20歲左右去世。

The background of the scene is largely colored gold—the color symbolizing wealth and royalty—further glorifying the country.
這幅畫(huà)的背景主要是金色，象征財(cái)富和皇權(quán)，彰顯了國(guó)家的榮耀。

The hand scroll is 1,191.5 cm long and 51.5 cm wide. It depicts spectacular landscapes, excellent architecture, exotic animals, and humans living in harmony and peace. It is now part of the collection of the Palace Museum in Beijing.
畫(huà)卷縱51.5 厘米，橫1191.5 厘米，展現(xiàn)了秀美山川、非凡建筑、珍禽異獸、安居百姓?，F(xiàn)藏于北京故宮博物院。

Along the River During the Qingming Festival
《清明上河圖》

Along the River During the Qingming Festival was painted by Zhang Zeduan (1085–1145), a court artist of the North Song Dynasty (960–1127). The handscroll captures the rich scenery and natural landscapes along the shores of Bian River in the Northern Song capital Bianliang, which was located near modern-day Kaifeng in Henan Province.
《清明上河圖》， 北宋（960—1127）宮廷畫(huà)師張擇端（1085—1145）所作。該手卷反映了北宋都城東京汴梁（今河南開(kāi)封附近）汴河兩岸的街市繁榮景象和自然風(fēng)光。

Painted in light colors on silk and measuring 24.8cm × 528.7cm, the original work is now in the collection of the Palace Museum in Beijing.
原畫(huà)縱24.8 厘米， 橫528.7 厘米，絹本淺色?，F(xiàn)藏北京故宮博物院。

Dwelling in the Fuchun Mountains
《富春山居圖》

Dwelling in the Fuchun Mountains is one of the few surviving works by the painter Huang Gongwang (1269–1354). The painting is created based on the Fuchun river’s early autumn scenery. Huang made full use of the Chinese traditional techniques. The arrangement is a masterpiece of movement and stillness as well as density and expansiveness. The ink likewise ranges from extremely dry to moist, and the strokes also vary from centered brushwork to slanted.
《富春山居圖》為畫(huà)家黃公望（1269—1354）少數(shù)的存世作品之一。畫(huà)家充分利用水墨技法描繪了富春江一帶的初秋景色，山水布置動(dòng)靜結(jié)合，疏密得當(dāng)，墨色濃淡干濕并用，中鋒圓渾、側(cè)鋒峻峭，極富變化。

Painted between 1348 and 1350, the Chinese landscape painting was burnt into two pieces in 1650. Today, one piece is kept in the Zhejiang Provincial Museum in Hangzhou, while the other piece is kept in the Taipei Palace Museum. The entire painting combined would measure 691.3 cm in length.
這幅山水畫(huà)作于元至正八年（1348 ）到至正十年（1350），清順治七年（1650 ）曾遭火焚，斷為兩段。現(xiàn)分藏于浙江省博物館和臺(tái)北故宮博物院。兩段相加橫691.3 厘米。

Spring Morning in the Han Palace
《漢宮春曉圖》

Created by the Ming Dynasty (1368–1644) painter Qiu Ying (ca. 1494–1552), Spring Morning in the Han Palace is a silk scroll painting noted for its bold use of colors. With a length of 574.1 centimeters and a width of 30.6 centimeters, it is considered very large relative to other similar decorative artwork. Qiu Ying is one representative painter in the Ming Dynasty, and is regarded as one of the Four Great Masters of the Ming Dynasty along with Shen Zhou (1427–1509), Wen Zhengming (1470–1559) and Tang Yin (1470–1523).
《漢宮春曉圖》是明代（1368—1644） 畫(huà)家仇英（ 約1494—1552） 的一幅絹本仕女畫(huà)，縱30.6 厘米，橫574.1 厘米，以其大膽的色彩運(yùn)用而聞名。 就裝飾繪畫(huà)而言，《漢宮春曉圖》堪稱巨制。仇英是明朝代表畫(huà)家，與沈周（1427—1509）、文征明（1470—1559）、唐寅（1470—1523）合稱“明四家”。

This long scroll is an imaginary representation of various activities in a Han Dynasty (206BC–220AD) palace on a spring morning. The intricate composition is rendered with crisp brushwork and beautiful colors. Trees and rocks decorate and punctuate the garden scenery of the lavish palace architecture, creating marvelous scenery similar to that of immortal realms. In addition to the groups of beauties, leisure activities of the literati, such as the zither, chess, calligraphy, and painting as well as appreciating antiquities and planting flowers are depicted, making it a masterpiece among Qiu Ying’s historical narrative paintings.
《漢宮春曉圖》以春日晨曦里的漢代（公元前206—公元220）宮廷為題，以長(zhǎng)卷的形式描繪了宮闈的各種日?；顒?dòng)。構(gòu)景繁復(fù)，用筆清勁，賦色妍雅，林木、奇石與華麗的宮闕穿插掩映，鋪陳出宛如仙境般的瑰麗景象。除卻美女群像之外，復(fù)融入琴棋書(shū)畫(huà)、鑒古、蒔花等文人雅士的休閑活動(dòng)，實(shí)為仇英歷史故事畫(huà)中的精彩之作。

One Hundred Horses
《百駿圖》

One Hundred Horses was drawn by Lang Shining in the Qing Dynasty (1644–1911). Lang was a missionary from Italy with birth name Giuseppe Castiglione. Working as a court painter in China for over 50 years, his talent in painting was regarded highly by Chinese emperors Kangxi, Yongzheng and Qianlong. He helped to create a hybrid style that combined the Western realism with traditional Chinese composition and brushwork.
《百駿圖》， 清（1644—1911）郎世寧所繪。郎世寧，意大利傳教士，原名朱塞佩·伽斯底里奧內(nèi)。郎世寧任宮廷畫(huà)師五十多年，畫(huà)才深得康熙、雍正、乾隆贊許。他將西洋現(xiàn)實(shí)主義手法與中國(guó)傳統(tǒng)構(gòu)圖和筆法相融合，開(kāi)創(chuàng)了一種中西雜糅風(fēng)格。

This paper painting, 813 cm long and 102 cm wide, captures 100 horses in various postures. They are kneeling, standing, frolicking, rolling, eating and running on the grassland—staying alone and among groups. The artwork is now preserved in the Taipei Palace Museum.
《百駿圖》，紙質(zhì)稿本，縱102 厘米，橫813 厘米。此圖共繪有100 匹駿馬，在草地上或跪或立，嬉鬧翻滾，覓食奔跑，聚散不一，姿勢(shì)各異?，F(xiàn)藏臺(tái)北故宮博物院。

來(lái)源：《英語(yǔ)世界》
譯者：卜杭賓