石渠寶笈三編(寧壽宮),第七冊,頁3472 &*故宮書畫錄(卷八),第四冊,頁130 &*故宮書畫圖錄,第十四冊,頁79-80&*「蒼猊」是郎氏奉詔寫生「十駿犬圖」之一, 此系列作品描繪邊疆少數民族王公及地方官員所進貢的純種獵犬, 對於瞭解其原產地, 與清廷中央與周邊藩屬相互的交往關係, 有重要參考價值。 「蒼猊」按《廣雅》釋:「蒼為青, 猊意即獅子。」乾隆以勇猛百獸之王為其鍾愛之犬命名。 此圖所繪西藏獒犬, 為犬類中之巨大者, 貌端正, 上脣延長, 被覆下脣。 耳小而下垂, 四肢短, 尾發達。 性兇猛, 養為鬥犬。 毛色青黑, 長而濃密, 前胸綴有白毛。 郎世寧繪鬃毛用筆細膩, 畫出質感光澤; 背景搭配板栗樹及大石, 前方坡地有玉簪花, 乃出自於中國宮廷畫家之手。 畫上標題以漢、滿、蒙文書寫動物名稱及進獻者的姓名與職銜。 傅清為滿洲鑲黃旗人李榮保次子, 忠勇公傅恆之弟, 乾隆九年(1744)代索拜任駐藏辦事大臣。 據《清史》記載, 傅清於乾隆十一年(1746), 受封駐西藏副都統, 十五年靖亂死節, 追一等伯。 因而此畫繪製年代, 上限應於乾隆十一年, 當時郎世寧五十八歲。(林莉娜)&*郎世寧(西元一六八八-一七六六年),意大利人,十九歲時,入天主教耶穌會為修士,曾習西畫,兼習建築。二十七歲來華,以繪事供奉內廷,歷仕康熙、雍正、乾隆三朝。善畫人物花鳥,尤善犬馬。其畫法,於中國傳統中加入西洋光影透視法,以及西畫顏料。故凡諸所作,色彩穠艷,形象逼肖。蒼猊犬為駐藏副都統傅清所進,幅上有漢蒙滿三體書標題。此圖繪駿犬佇立,前後以玉簪花板栗樹配景,花樹駿犬,描繪神態栩栩如生。&* Lang Shih-ning, whose original name was Giuseppe Castiglione, was a native of Milan, Italy. When he entered the Catholic priesthood at 19, he had already studied painting and architecture. AT 27 he journeyed to China as a missionary and was called to the Imperial Court to serve as a painter. He remained in the service of the Imperial Court through the reigns of three emperors: K’ang-hsi (r.1662-1723), Yung-cheng (r.1723-1735), and Ch’ien-lung (r.1736-1796). He was skilled in painting figures, birds and flowers, and he excelled particularly in painting horses and dogs. His painting style incorporated western techniques such as perspective and modelling into traditional Chinese painting. This blending resulted in beautifully rendered paintings that were extremely realistic. Ts’ang-ni was presented to the emperor by Fu Ch’ing, the Vice Commander-in-Chief stationed in Tibet. The title of the painting is written in Chinese, Mongolian, and Manchu. The hunting dog stands motionless amidst the tube-roses and chestnut trees. The flowers, trees, and dog have been painted in such a manner that they look very natural and lifelike. &*1.林莉娜,〈郎世寧畫十駿犬—蒼猊〉,收入馮明珠主編,《乾隆皇帝的文化事業》(臺北:國立故宮博物院,2002年初版一刷),頁130。 2.韓北新,〈郎世寧繪畫繫年(二)〉,《故宮文物月刊》,第68期(1988年11月),頁129-130。 3.林莉娜,〈乾隆皇帝的文化大業 清郎世寧畫十駿犬 — 蒼猊〉,《故宮文物月刊》,第236期(2002年11月),頁21。