《雍亲王题书堂深居图屏•倚榻观鹊》轴，清，宫廷画师绘，绢本，设色，纵184cm，横98cm。

　　《雍亲王题书堂深居图屏》共12幅，此为其中之一。

　　图绘屋内身着华服的女子侧身坐于榻上，目视着屋外嘻戏的喜鹊。作者意在反映女子观赏喜鹊时愉悦的心境，但却潜意识地表现出宫内生活的空虚，成双成对的喜鹊映衬出女子的孤独、寂寞。主人翁背后的屏风上书有各种书体的“寿”字，寓有祈寿延年之意。

   　作者凭借深厚的写实功底、巧妙的构思，令画作充满了“以虚补实”的想象空间。图中的寿字屏、花瓶及松枝等虽然仅绘有一半，但却具有“笔断意连”的艺术效果，在造型上不失完整性，从而成功地点缀了画面。图中女子的目光虽然无法以具象的手法加以表现，但作者通过准确地刻画女子侧身扭转的体态，将其无形的目光所向表现出来，从而将室内外的景物自然地联系起来。

 

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

 

Prince Yong's Book Inscription Hall is in Picture Screen

Prince Yong's Inscription Hall Deep in Picture Screen has 12 pieces, which is one of them.

The woman in the picture room, dressed in gorgeous clothes, sat sideways on the couch and looked out at the magpies. The author intends to reflect the happy mood of women when they watch magpies, but subconsciously shows the emptiness of life in the palace, and pairs of magpies reflect the loneliness and loneliness of women. Behind the screen of the hero, there are all kinds of characters of "longevity" in calligraphy, implying the meaning of longevity.

By virtue of his profound realistic skills and ingenious conception, the author makes his paintings full of imagination space of "filling the real with the virtual". Although only half of the Shouzi screen, vase and pine branches are painted in the picture, they have the artistic effect of "brush breaking and meaning linking", and they are not incomplete in shape, thus successfully embellishing the picture. Although the women's eyes in the picture can not be represented by concrete means, the author expresses their invisible vision by accurately depicting the women's side twist, thus naturally linking the indoor and outdoor scenes.