清姚文瀚摹宋人文會圖 卷
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- 資料識別：
- 故畫001727N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 姚文瀚
- 主題與關鍵字：
- 石榴 文房用具 橋 蘋婆．林檎 芭蕉 松 花器 佛手 香爐．火盆 文玩（琴棋書畫） 梧桐 庭院 投壺 篷舟 竹 紫薇 桃子 扇 牡丹 傢俱（屏風） 奇石 芙蓉 官員（臣） 靈芝 寒林．枯樹 柏 寺廟 梨 飲食器 欄杆 鶴 珊瑚 江河、湖海 高士（士人、隱士） 石磴、棧道 侍從（侍女、童僕）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 清高宗乾隆十七年（1752）
- 格式：
- 本幅 46.8x196.1公分、隔水一 16.8公分、隔水二 16.9公分
- 關聯：
- 石渠寶笈續編（養心殿），第三冊，頁1260&*故宮書畫錄（卷八），第四冊，頁50&*故宮書畫圖錄，第二十一冊，頁191-192&*姚文瀚（約活動於西元一七三六至一七九五年），善畫佛道人物。由此作品來看，其用筆線條精細剛勁，設色明淨秀麗，無論繪人物、家具皆寫實有立體感。唐太宗為秦王時，府中蓄有十八謀士，登基後，特命閻立本畫十八學士圖，嗣後成為宋以後常見的畫題。此卷與劉松年唐十八學士、傳宋人梧陰清暇構圖相同，作成於乾隆十七年。 此卷臨本家具形象更清晰，造型合理，顯示出畫家對器物造型觀察入微。全卷共有家具多件，在數量、種類、形制、裝飾方面，都提供了極寶貴的資料。 &* Yao Wen-han excelled at religious and figural subjects. Judging from this work alone, Yao Wen-han’s brushwork was precise, refined, and powerful, while his use of colors was pure and beautiful. Regardless of whether painting figures or furniture, they all appear real and three-dimensional. When Emperor T’ang T’ai-tsung (r. 627-649) was still Prince of Ch’in, he sponsored eighteen scholars. After he ascended the throne, he ordered the court artist Yen Li-pen to paint the “Picture of the Eighteen Scholars.” Starting in the sung dynasty (960-1279), this became a common theme in painting. The composition of this work is similar to “Eighteen Scholars of the T’ang” by Liu Sung-nien (fl. ca.1174-1224) and “Relaxing in the Shade of Pawlonia Trees” by an anonymous Sung artist. This scroll was painted in 1753. The description of furniture in this scroll is clear and precise, and the designs are logical. This demonstrates that Yao Wen-han’s observation of furniture details was acute. Throughout the scrolls are many examples of Ch’ing style furniture. They all provide valuable information for researching the variety and decoration of Chinese furniture. &*唐太宗為秦王時，府中蓄有十八謀士，登基後，特命閻立本畫十八學士圖，宋以後常以文人雅集的方式呈現。姚文瀚此卷繪於乾隆十七年，上有嵇璜楷書〈十八學士贊〉，與院藏〈劉松年唐十八學士圖〉構圖相同，設色明淨秀麗，用筆精細挺勁，人物開面略施陰影，具立體感，對各類家具器物的細節描繪考究。 姚文瀚（生於西元一七一三－卒年不詳），北京人。號濯亭。乾隆時供奉內廷，工佛道人物。(20100101)&*When the Tang emperor Taizong (r. 626-649) was Prince Qin, his residence featured eighteen great scholars. After ascending the throne, he ordered Yan Liben to do a painting of them, which by the Song dynasty (960-1279) became a general mode for depicting a literary gathering. Yao Wenhan did this handscroll in 1752. It features a “Eulogy on the Eighteen Scholars” in regular script by Ji Huang (1711-1794). It is similar in composition to the National Palace Museum’s “Eighteen Scholars” by the Song artist Liu Songnian (fl. 1174-1224). The coloring is bright and beautiful, the brushwork fine yet strong. Facial features reveal shading for a volumetric effect, and the furniture and objects are fine and precise. Yao Wenhan (native to Beijing) served the Qianlong court as a painter specializing in figural themes.(20100101)
- 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
