清郎世寧聚瑞圖 軸
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- 資料識別：
- 故畫000803N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 郎世寧
- 主題與關鍵字：
- 花器 蓮荷 小米
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 清世宗雍正元年（1723）
- 格式：
- 本幅 173x86.1公分、全幅 106公分
- 關聯：
- 石渠寶笈續編（乾清宮），第二冊，頁796&*故宮書畫錄（卷五），第三冊，頁578&*故宮書畫圖錄，第十四冊，頁9-10&*1.王耀庭、陳韻如，〈清郎世寧聚瑞圖〉，收入王耀庭主編，《新視界 : 郎世寧與清宮西洋風》（臺北：國立故宮博物院，2007年初版），頁50-51。 2.〈清郎世寧聚瑞圖〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁276。 3.韓北新，〈郎世寧繪畫繫年(一)〉，《故宮文物月刊》，第67期（1988年10月），頁92-93。 4.林莉娜，〈符瑞疊呈 — 郎世寧〈聚瑞圖〉賞析〉，《故宮文物月刊》，第320期（2009年11月），頁40-47。 5.林莉娜，〈清 郎世寧 聚瑞圖〉，收入馮明珠主編，《雍正—清世宗文物大展》（臺北：國立故宮博物院，2009年九月初版一刷），頁313-315。&*郎世寧（西元一六八八至一七六六）。意大利人，十九歲，入天主教耶穌會為修士，習畫兼習建築。廿七歲來華傳教，召入內廷供奉，善人物花鳥，尤善畫馬。畫瓶中並蒂蓮和合粟，以記祥瑞。下筆穩重，著色典雅。圖作於雍正元年，時年三十五，為院藏郎氏來華最早作品，故西畫氣息，甚為濃重 &*Lang Shih-ning was an Italian who entered the Jesuit brotherhood when he was nineteen years old. He studied both painting and architecture. At twenty-seven, he went to China as a missionary. He served in the Ch’ing court of Emperor Ch’ien-lung as a painter in residence. He excelled at painting people, flowers and birds, but was especially accomplished in painting horses. The double flowered lotus and double-eared stalks of grain represent favorable or auspicious omens. The brushwork is steady and strong and the use of color is elegant and refined. The picture was painted in 1728. In that year, Lang Shih-ning was 35 years old. This painting is his earliest work in this collection, and has a heavy Western flavor. &*此為郎世寧現存紀年最早的作品，距他來到中國大約八年光景。畫中描繪一只青瓷弦紋瓶，瓶中插著並蒂蓮花、蓮蓬與稻穗等象徵吉祥的植物。雖自元明以來就有這類祥瑞瓶花圖式，但此畫幾乎不見任何勾勒，色彩的敷設也極具光影效果，與西洋寫生觀念較多符合。畫中青瓷瓶與台座均以詳實態度進行描繪，可以在清宮收藏中追索真實對應的物件。&*This work dates from 1723, making it the earliest known painting by Giuseppe Castiglione and done approximately eight years after he first arrived in China. Depicted here is an underglaze blue vase decorated with raised line patterns. Arranged in the vase are stalks of twin lotus blossoms and pods as well as double grain, plants with symbolically auspicious overtones. Although similar compositions of auspicious plants in a vase can be found from the previous Yüan (1271-1368) and Ming dynasties (1368-1644), here the outlines to the forms are all but invisible, the beautiful coloring having a strong sense of shadow that adheres more closely to Western notions of realism. The vase and its stand were painted with such exceptional detail and accuracy as to make it possible to look for similar objects from the Ch’ing court.
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
