中國歷史悠久，國畫杰作眾多，價值連城。有些畫作在戰(zhàn)爭中損毀或遺失，但更多畫作傳世千年，現藏于國內外各大博物館。此文輯錄的是中國十大傳世名畫：

Nymph of the Luo River

《洛神賦圖》

Artist and writer Gu Kaizhi （ca. 344–406） painted Nymph of the Luo River on a long silk scroll during the Eastern Jin Dynasty （317–420）. The narrative scroll， from which four copies dating to the Song Dynasty （960–1279） survived （now exhibited in Beijing， Liaoning and Washington）， illustrates the poem Ode to the Nymph of the Luo River， written by Cao Zhi （192–232）.

《洛神賦圖》為東晉（317—420）畫家和詩人顧愷之（約344—406）所作，絹本，長卷。這幅敘事畫卷乃據曹植（192—232）的《洛神賦》而作。有四件宋（960—1279）摹本傳世，分別藏于北京、遼寧省和華盛頓。

It is a large scroll that should be “read” horizontally， depicting the love story between the poet and the nymph， from their meeting to their parting.

這幅古畫為長卷，需橫覽，繪曹植與洛神自邂逅定情到分別的愛情故事。

Emperor Taizong Receiving the Tibetan Envoy

《步輦圖》

Emperor Taizong Receiving the Tibetan Envoy depicts the meeting of Emperor Taizong of the Tang Dynasty （618–907） and Ludongzan， Gar Tongtsen Yulsung， an envoy sent by Songtsan Gampo （617–650）， the ruler of Tibet， to accompany Princess Wencheng back to Tibet to be his queen. Yan Liben （601–673）， the artist who created this painting， was one of the most revered Chinese figure painters in the early years of the Tang Dynasty.

《步輦圖》為唐朝（618—907）初期最受尊崇的人物畫家閻立本（601—673）所繪，以吐蕃王松贊干布（617—650）迎娶文成公主入藏為背景，描繪了吐蕃使臣祿東贊晉見唐太宗時的場景。

The ink and colour on silk handscroll， 129.6 cm long and 38.5 cm wide， is now in the collection of the Palace Museum in Beijing.

此畫縱38.5 厘米，橫129.6 厘米，手卷，絹本設色，現藏于北京故宮博物院。

Noble Ladies in Tang Dynasty

《唐宮仕女圖》

Noble Ladies in Tang Dynasty are a serial of paintings drawn by Zhang Xuan （713–755） and Zhou Fang （ca. 730–800）， two of the most influential figure painters of the Tang Dynasty， when the paintings of noble ladies became very popular.

《唐宮仕女圖》是張萱（713—755）、周昉（約730—800）所繪的一組畫。二人為唐代人物畫名家，當時仕女畫風行。

The paintings depict the leisurely， lonely and peaceful life of the ladies at court， who are shown to be beautiful， dignified and graceful. Four most-renowned paintings in the serial are Portrait of Lady of Guo Going Sightseeing in Spring （by Zhang Xuan）， Court Ladies Preparing Silk （by Zhang Xuan）， Court Ladies Adorning Their Hair with Flowers （by Zhou Fang）， Court Ladies Swinging Fans （by Zhou Fang）.

此畫描繪了宮廷仕女閑靜寥落的生活，人物優(yōu)美、典雅、端莊。這組畫中最著名的四幅作品是張萱所作《虢國夫人游春圖》、《搗練圖》以及周昉所作《簪花仕女圖》、《揮扇仕女圖》。

Zhang Xuan used fine brushwork to make paintings of people and was especially good at painting noble ladies， infants and pommel horses. Zhou Fang was influenced by the pure and detailed style of the Jin Dynasty artist Gu Kaizhi， and his portrayals of court ladies are characterized by round faces and plump figures.

張萱以工筆人物寫生見長，尤其擅繪仕女、嬰兒和鞍馬。受顧愷之影響，周昉的畫風不求藻飾，注重細節(jié)，仕女造型以面容圓潤、體態(tài)豐腴為主要特征。

The paintings are now kept in several museums around China.

這組畫現藏于國內幾家博物館。

Five Oxen

《五牛圖》

Five Oxen， a painting by renowned Tang Dynasty artist Han Huang （723–787）， is housed in the Palace Museum in Beijing.

《五牛圖》為唐代著名畫家韓滉（723―787）所作，藏于北京故宮博物院。

Han Huang was born in Chang’an during the reign of Emperor Xuanzong （685–762）， and served as a chancellor during the reign of Emperor Dezong （742–805）.

韓滉生于唐玄宗（685—762）開元年間，長安人，唐德宗（742—805）年間任宰相。

Han was renowned for painting people and animals with detailed facial expressions. He was especially distinguished at painting agricultural life and livestock， including oxen and goats.

韓滉以人物、畜獸畫著稱，神態(tài)刻畫細致入微，對田家風俗和牛羊等家畜的描摹尤其出色。

Five Oxen is 139.8 centimeters long and 20.8 centimeters wide. The painting， as the name suggests， is of five oxen without any background. The oxen are positioned in a line， each with distinctive appearance， walking or standing， holding their heads high or low. The oxen have bright， piercing eyes and different temperaments： lively， docile， romping and even eccentric.

《五牛圖》縱20.8 厘米，橫139.8 厘米。顧名思義，畫的是五頭牛，畫面上沒有背景襯托。五頭牛一字排開，各具狀貌，姿態(tài)互異：或行，或立，或俯首，或昂頭。五牛瞳眸炯炯有神，性情各不相同：活潑、溫順、喧鬧甚或乖僻。

The Night Revels of Han Xizai

《韓熙載夜宴圖》

The Night Revels of Han Xizai by Southern Tang （937–975） artist Gu Hongzhong reproduces the historical scene of Southern Tang Minister Han Xizai’s evening banquet. It shows the host and guests， singing and dancing， laughter and joy， as well as the protagonist’s detachment and a sense of gloom. The surviving copy is a 28.7 cm × 335.5 cm， ink and color on silk handscroll made during the Song Dynasty， and is now housed in the Palace Museum in Beijing.

《韓熙載夜宴圖》為南唐（937—975）畫家顧閎中所作，再現了南唐大臣韓熙載夜宴賓客的歷史場景，描繪了宴會上主客揉雜、彈絲吹竹、清歌艷舞、調笑歡樂的場面，又刻畫了主人公超脫不羈、沉郁寡歡的性格。現存宋摹本手卷，絹本設色，縱28.7 厘米，橫335.5 厘米，現藏于北京故宮博物院。

Han Xizai （902–970） was a scholar-official of the Southern Tang court. As he wanted to save himself from a delicate political situation， Han pretended to live a dissolute life， so as to dispel Emperor Li Yu’s （937–978） doubts and suspicion.

韓熙載（902—970）， 南唐文臣。他為了從復雜的政治局勢中脫身，消除后主李煜（937—978）對自己的猜忌，假裝過著放蕩的生活。

Gu Hongzhong （910–980） was a court-painter in the painting academy of the Southern Tang Dynasty during the Five Dynasty and Ten Kingdoms period （907–979）. Emperor Li Yu sent Gu to spy on one of Han’s sumptuous parties， leading Gu to produce this famous artwork.

顧閎中（910—980）， 五代十國（907—979）南唐畫家，任南唐畫院宮廷畫師。后主李煜派其潛入韓府偷看韓熙載夜宴的奢華場面。顧閎中因此繪制出這幅名畫。

This narrative painting is split into five distinct sections： Han Xizai listens to the pipa， watches dancers， takes a rest， plays string instruments， and then sees guests off. It shows precise portraits of more than 40 figures with fine and continuous brush lines and delicate colors.

該敘事畫卷分為五段場景，即聽樂、觀舞、暫歇、清吹、散宴。作品描繪了40 多個人物，造型準確精微，線條工細流暢，色彩絢麗清雅。

The work was not only a painting about personal life， but also represented many features from that period.

這幅畫不僅展現了韓熙載的個人生活，也反映了那個時代的多種風情。