《大梅诗意图》页，清，任熊绘，绢本，设色，纵27.3cm， 横32.8cm。

 　　“大梅”，指晚清文学家姚燮。姚燮（1805—1864年），字梅伯，一字复庄，号大梅山民，浙江镇海人。工诗文，尤精填词，善写墨梅及白描人物、写意花卉，无不奇特。但当时人们更为推重他的诗词，有《大梅山馆集》问世。任熊与姚大梅关系友善。清咸丰元年（1851年），时年29岁的任熊应姚大梅之邀，寓居姚家为其诗句配图，共绘诗意图120页，分别刻画了仕女、花鸟、楼台、鬼神等各种物象。兴酣落笔，二月余而成。

　　此为《姚大梅诗意图》中的一开，是任熊依据姚大梅“内家汉戏秘秋千”诗意所绘宫苑女子荡秋千的场面。唐宋时代，秋千成为专供妇女玩耍的游戏，以练习轻捷、矫健之态。打秋千时，人在空中荡来荡去，翩翩若飞，饶有趣味。图中女子着汉装，为宋时形制。其中一女子身穿盘领窄袖袍，腰系抱肚，束红色革带，为男装打扮，暗指女子也谙熟武艺，有巾帼不让须眉的神采。

　　此图在绘画技法上以传统的状物勾勒敷色法为主。线条用逸笔写出，设色明丽，有平面效果。局部采用西法，秋千柱子架构比例合理，女子间的位置经营适度，有透视效果。作品反映出画家对中西结合绘画风格的探索。

 

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

 

"Damei Poetry Intention" page, Qing Dynasty, Ren Xiong Painting, silk, color, vertical 27.3 cm, horizontal 32.8 cm.

"Damei" refers to Yao Xie, a writer in the late Qing Dynasty. Yao Xie (1805 - 1864), the word Maybe, the word Fuzhuang, the name of Damei Shanmin, Zhenhai people in Zhejiang Province. Work poems and essays, especially refined lyrics, good at describing ink plum and white characters, freehand flowers, are all unique. But at that time, people put more emphasis on his poems, such as Dameishan Museum Collection. Ren Xiong has a friendly relationship with Yao Damei. In the first year of Xianfeng in the Qing Dynasty (1851), Ren Xiong, 29 years old at the invitation of Yao Damei, lived in Yao's house to map his poems. He drew 120 pages of poem intentions, depicting ladies, flowers and birds, terraces, ghosts and gods. Xing Po pen, more than two months from.

This is the opening of Yao Damei's Poetry Intention. It is Ren Xiong's scene of a woman swing in a palace court according to Yao Damei's poetry of "The Secret Swing of Neijiahan Opera". In the Tang and Song Dynasties, swing became a game for women to play, in order to practice light and vigorous attitude. When swinging, people swing around in the air, flying, interesting. In the picture, the women are dressed in Han costume, which is the shape of Song Dynasty. One of the women was dressed in a narrow sleeve gown with a collar, a waist tie and a red leather belt, suggesting that the woman was also skilled in martial arts and had the look of a scarf that did not make her brows look.

This drawing is mainly based on the traditional shape outline and color application method. Lines are written with a freehand brush, with bright colors and a flat effect. Local use of Western method, swing pillar structure proportion is reasonable, women's location management moderate, perspective effect. The work reflects the artist's exploration of the Chinese and Western painting style.