关于仇英《美人春思图》的主题,一向存在不同的认识。本文从细读画面入手,考察画中人物的身份。通过对比年代稍晚、为丁云鹏所作的类似作品,并结合卷末同代人的题诗来看,画面中的人物应与现实中的女妓息息相关,故而将此作置于明中期的青楼文化中,对其创作情境作了相关推测。得出结论如下:仇英在绘制此作时,充分借鉴了图绘洛神的传统,然又在细节设置上有所不同。从仇英可接触到的视觉资源来看,这并非是他不清楚洛神应该如何表现所致,而是有意为之。正是种种细节变化所制造出的模糊性,为对画作主题的不同解读提供了空间。 There has always been a different understanding of the theme of Qiuying’s “Spring Beauty of Beauty.” This article starts with a closer look at the screen and examines the identity of the characters in the painting. By comparing later works of the younger generation with similar works by Ding Yunpeng, and combining with the poem of the contemporaries at the end of the scroll, the characters in the picture should be closely related to the real prostitutes. Therefore, this is placed in the mid-Ming brothel culture In the creation of the situation made the relevant speculation. Draw the conclusion as follows: Qiu Ying in drawing this, fully draw on the tradition of depicting Los God, and again in the details of the settings are different. Judging from the visual resources available to Qiu Ying, this is not because he did not know how Roselle should behave but rather did so. It is the fuzziness created by all kinds of changes in detail that provides a space for different interpretations of the theme of painting.