《卓歇图》卷，五代，胡瓌作(传)，绢本，设色，纵33cm，横256cm。

　　该图旧传为五代契丹画家胡瓌作。据画中大多数人物髡顶、脑后垂双辫的发式和方顶黑巾等特点，当属金代女真人的风俗，故极可能出自金代汉族画家的手笔。

　　全卷画女真贵族在狩猎歇息时邀南宋使臣宴饮观舞的情景。前半段为立歇部分，马背上的猎物点缀了人马刚从追逐和喧闹中转入了静态。马群的尽头是走向乐舞场地的捧花女，把歇息和乐舞两段有机地结合起来。舞蹈者在箜篌的伴奏下跳跃，构成全图的高潮，显示了作者处理大场面中人马动静、聚散的艺术能力，充满了浓厚的北方草原民族的生活气息。

　　引首有清代张照书“番部卓歇圖”，乾隆帝作《卓歇歌》，尾纸有元代王时、清代高士奇、张照的跋文。

　　该图经清阮元《石渠随笔》、高士奇《江村书画目》、清内府《石渠宝笈·续编》著录。

 

--------Introduction in English--------

 

Zhuo Xietu Volume, Five Dynasties, Hu Ba Zuo (biography), silk, color, vertical 33cm, horizontal 256cm.

The picture was handed down to Hu Ba, a five-generation Qidan painter. According to the characteristics of most figures in the painting, such as the top of the bun, the hair style with double braids and the black towel with square top, it belongs to the custom of Nuzhen people in Jin Dynasty, so it is very likely to come from the handwriting of Han painters in Jin Dynasty.

The whole scroll paints the scene of Nuzhen noble inviting envoys of the Southern Song Dynasty to dinner and dance while they are hunting and resting. The first half is the standing and resting part. The prey on the horse's back is decorated with human and horse, which has just changed from chasing and noisy to static. At the end of the horse herd is a flower girl who walks to the music and dance venue and organically combines rest and dance. Dancers leap with the accompaniment of the harp, forming the climax of the whole picture, showing the artistic ability of the author to deal with the movement and dispersion of people and horses in the grand scene, and full of the strong flavor of life of the northern grassland nation.

The preface includes Zhang Zhaoshu of Qing Dynasty, Emperor Qianlong's Zhuo Xie Song, and the postscript of Wang Shi of Yuan Dynasty, Gao Shiqi and Zhang Zhao of Qing Dynasty.

This picture was recorded by Ruan Yuan's Essays on Shiqu, Gao Shiqi's Bibliography of Jiangcun Calligraphy and Paintings, and Shiqu Baodu, a sequel to the Qing Neifu.