《观梅图》轴，明，唐寅绘，纸本，淡设色，纵108.6cm，横34.5cm。

　　本幅自题七绝一首：“插天空谷水之涯，中有官梅两树花。身自宿因才一见，不妨袖手立平沙。苏门唐寅为梅谷徐先生写。”后钤一朱文方印，印文模糊不辨。画心上方有明代都穆、豪（钤“戊辰进士”印）、王应鹏等三人题诗。

　　画作表现一位高士袖手立于溪桥之上，身后的山崖边两树梅花含苞待放，与作者所题诗意十分吻合。全幅构图汲取南宋院体风格，险中求胜，山石树木的勾勒粗细得当，晕染多于皴擦，清健爽利的笔致和幽静的背景营造突出了主体人物的高洁形象。人物的线描细劲流畅，造型清俊儒雅。从此作的创作风格上看，应是唐寅中年以后的作品。

　　此图曾经清代毕沅等人鉴藏。

 

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

 

"Guanmei Tu" axis, Ming Dynasty, Tang Yin Painting, paper, light color, vertical 108.6 cm, horizontal 34.5 cm.

This piece is titled "Seventy-one absolute song from the title:" In the end of the valley, there are two flowers of Guanmei. As soon as you see the eason why you live, you may as well put your hands on the sand. Su Men Tang Yin wrote for Mr. Meigu Xu. Houjun-Zhuwen square seal, the seal is indistinguishable. Above the painting heart are inscriptions by Dumu and Hao of Ming Dynasty (Jun's seal of "Wuchen Jinshi") and Wang Yingpeng.

The painting shows a Gaoshi sleeve standing on a stream bridge with two plum blossoms budding on the edge of the cliff behind him, which is in good agreement with the poetry inscribed by the author. Drawing on the style of the courtyard of the Southern Song Dynasty, the whole composition strives to win in danger, the outline of the rocks and trees is rough and fine, and the halo is more than chafing. The clean and refreshing style and quiet background create a noble image that highlights the main characters. The lines of the characters are delicate, vigorous and smooth, and their shapes are clear, handsome and elegant. From this point of view, it should be Tang Yin's works after middle age.

This picture was collected by Bi Yuan and others in the Qing Dynasty.