《沛台实景图》页，明，唐寅作，绢本，水墨，纵26.2cm，横23.9cm。
本幅作者自题并书七言律诗一首：“正德丙寅，奉陪大塚宰太原老先生登歌風台，謹和感古佳韻並圖其實景，呈茂化學士請教。唐寅。‘此地曾經王輦巡，比鄰爭睹帝王身。世隨邑改井猶存，碑勒風歌字失真。仗劍當時冀亡命，入關不意竟降秦。千年泗上荒台在，落日牛羊感路人。’”钤“唐居士”。另有安岐、吴璵等人收藏印记。
唐寅在题诗中讲述了绘制此图的原由。明正德元年丙寅（1506年），唐寅36岁时，陪同大学士王鏊游览沛台后绘此图，并赠茂化学士。沛台，又名歌风台，位于今江苏省沛县境内，相传，汉高祖刘邦曾于此饮酒放歌，后人于是筑此台以纪之。
唐寅此图纯用水墨，完全是纪实写生之作。庭院屋舍结构清晰，颇具透视感。各种树木相间杂，多用空勾夹叶，繁而不乱。近景坡石用细笔长皴，微作晕染，工劲中兼有细秀圆润，是唐寅较富特色的山石画法。远景一角山林，雾气沉沉，墨色湿润，与近景相比较，虽有近大远小的区别，但在空间位置上却有很大的随意性，反映了中国古代画家对空间处理的独特理解。整幅作品融宋代院体技巧与元人笔墨韵味为一体，呈现出劲峭而又不失秀雅的品貌。
《墨缘汇观》著录。
--------Introduction in English--------
Pei Tai Scene" page, Ming, Tang Yin, silk, ink, vertical 26.2 cm, horizontal 23.9 cm.
The author wrote a seven-character poem with his own title: "Zheng De Binyin, accompanied by the old Mr. Taiyuan, Tsuyoshi Takayama, went to the singing platform, and felt the ancient charm and drew the actual scene. Cheng Maohua asked for advice. Tang Yin. 'There used to be a king's patrol here, competing with his neighbours to see the emperor's body. Shisuiyi remained well-changed, and the words of Beilefeng Song were distorted. At that time, Ji died in battle of swords, but he was unwilling to descend to Qin Dynasty when he entered the customs. Thousands of years on the barren terrace, the setting sun cattle and sheep touching passers-by. Jun "Tang Jushi". In addition, Anqi, Wu Jun and others collect their seals.
Tang Yin described the reason for drawing this picture in his poems. Bin Yin (1506) was the first year of Ming Zhengde. When Tang Yin was 36 years old, he accompanied Wang Shao, a scholar of the university, to draw this picture after visiting Peitai and presented it to Maochuang Bachelor. Peitai, also known as Song Typhoon, is located in Peixian County, Jiangsu Province. According to legend, Liu Bang, the ancestor of Han Gaozu, once drank and sang here, and later generations built this platform for record.
Tang Yin's painting is pure ink, and it's totally a documentary sketch. The structure of the courtyard house is clear and has a sense of perspective. Various kinds of trees are miscellaneous, mostly using empty hooks to clip leaves, complex but not disorderly. The close-range slopes and stones are long with fine brushes and slightly dizzy dyed. They are both delicate and mellow in their workmanship, which is Tang Yin's more distinctive method of mountain and stone painting. The distant corner of the mountain forest, foggy, moist ink, compared with the near-term, although there are differences between big and small, but there is a great randomness in the spatial location, reflecting the unique understanding of space processing by ancient Chinese painters. The whole work combines the Academy skills of the Song Dynasty with the charm of the Yuan Dynasty's brush and ink, showing a vigorous and elegant appearance.
Description of Moyuan Huiguan.
