《陶渊明归去来辞图》扇页，清，焦秉贞绘，纸本，设色，纵16.1cm，横47.5cm。

　　扇页有自题：“戊子夏日写陶渊明《归去来辞》，云：‘童仆欢迎，稚子候门。三径就荒，松菊犹存。’呈为老太翁先生博粲。焦秉贞。”钤“尔正氏”朱文印。

　　“戊子”是清康熙四十七年（1708年）。

　　此图根据陶渊明《归去来辞》文意，描绘陶氏辞官隐居，离船登岸时受到“童仆欢迎”的场景。作者作为曾受过西洋技法影响的画家，在此件创作上除了茅屋结构有些许透视外，受西方画法的影响尚不明显，其笔法基本属于中国传统的人物山水画范畴。作者注重以形写神，将陶氏下船时小心翼翼的举止，和童仆们恭敬的神态均刻画得生动传神。

 

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

 

The Fan Page of Tao Yuanming's Return Dictionary, Qing Dynasty, Jiao Bingzhen's Painting, Paper, Coloring, 16.1 cm in length and 47.5 cm in breadth.

The fan page has its own title: "Wuzi wrote Tao Yuanming's Return Words in summer." Yun: "Welcome to the children's servants, waiting for the door. The three paths are desolate, and the pine chrysanthemum still exists. Presented as Mr. Old Tai Weng Bo-tsang. Jiao Bingzhen." Jun "Erzheng" Zhu Wenyin.

"Wuzi" was the forty-seventh year of Kangxi in the Qing Dynasty (1708).

According to the literary meaning of Tao Yuanming's Return Letters, this picture depicts the scene of Tao's resignation from office in seclusion and being welcomed by "child servants" when he left the ship and landed. As a painter who has been influenced by Western techniques, the author's brushwork is basically in the category of traditional Chinese figure landscape painting, except for the slight perspective of the hut structure, and the influence of Western painting is not obvious. The author pays attention to depicting the spirit in form, and vividly depicts Dow's cautious manner when he disembarks from the ship and the respectful manner of the children's servants.