元龔開鍾進士移居圖 卷
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- 資料識別：
- 中畫000011N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 龔開
- 主題與關鍵字：
- 溪澗、湍泉 瀑布 雲 仕女 孩童 侍從（侍女、童僕） 鬼怪 鍾馗 寒林．枯樹 松 竹 梅（白．紅．蠟梅） 萬年青 柿 石榴 牛 鹿 貓（貍奴） 蜘蛛 魚 人力車 蝙蝠 傢俱（屏風） 飲食器 樂器 香爐．火盆 兵器 燭台．蠟燭
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 11.1x332.6公分、隔水一 11.1x13.2公分、隔水二 11.1x12.8公分、拖尾一 11.1x50公分、拖尾二 11.1x46公分
- 關聯：
- 盛京故宮書畫錄，第二冊，頁39&*故宮書畫錄（卷八），第四冊，頁174&*故宮書畫圖錄，第十六冊，頁371-374&*龔開（西元一二二二—一三○七年），江蘇淮陰人。字聖與，一作聖予，號翠巖。宋末曾任兩淮制置司監官，宋亡後潛居深隱。畫人馬遠師曹霸（八世紀），描法甚粗；尤喜作墨鬼鍾馗，風格怪奇，自成一家。 院藏「鍾進士移居圖」若與美國佛利爾美術館所藏之龔開「中山出遊圖」卷相較，畫風全然不似。幅中諸多寓意吉祥之物，如元寶、魁星、風燈、梯、貓、魚、蝙蝠、蜘蛛等，於明代作品中較常見及，據此推斷本幅的成作年代，應不致早於明。&*Kung K'ai (style name Sheng-yu and sobriquet Ts'ui-ten) was a native of Huai-yin, Kiangsu. At the end of the Sung dynasty, he served as Circuit Supervisor of the Liang-Huai region, but with the fall of the dynasty to the invading Mongols, he went into seclusion. In horse and figure painting, he was a distant follower of the great T'ang painter, Ts'ao Pa (fl. 8th c.), but Kung's method of description was somewhat coarser. He also often depicted goblins in monochrome ink and Chung K'uei, using an eccentric manner all his own. The style of this work is quite different from another Kung K'ai painting of similar subject matter in the Freer Gallery of Art (Washington, DC)," Chung K'uei Travelling with His Sister." The painting includes many motifs with auspicious implications, such as precious ingots, the god of literature, lanterns, ladders a cat, fish, bats, and spiders. These are more often found in Ming (1368-1644) paintings, indicating that this work probably dates no earlier than then.&*龔開（西元一二二二—一三○七年），江蘇淮陰人。他最喜愛畫鬼怪和鍾馗，風格奇特，可惜存世作品很少。 本幅雖然舊傳是龔開的作品，但是風格並不相同，很可能是明代以後畫家假扥他的名字所畫的。畫中情節，非常熱鬧有趣，還描寫了很多具有吉祥意義的物品，比方元寶、魁星、蝙蝠、風燈等等，所以這幅手卷，應該是為了因應過年或者端午節才製作的一幅應景作品。&*Kung K'ai, a native of Kiangsu province, often depicted the theme of Chung K'uei the Demon Queller along with demons. Kung's style was quite unusual, but his surviving works are now rare. Although this work is attributed to Kung K'ai, the style here differs from his. It is most likely a work by a Ming (l368-1644) painter with Kung's signature added. This raucous scene with demons includes many objects with auspicious connotations, such as precious ingots, the god of literature, a bat, and lanterns. Thus, this handscroll was probably meant as a seasonal painting done either at the Chinese New Year or at the Dragon Boat Festival (when images of Chung K'uei are often done and displayed to dispel evil and bring good luck).&*1.劉芳如，〈傳宋龔開鐘進士移居圖〉，收入國立故宮博物院編輯委員會編，《迎歲集福 — 院藏鍾馗名畫特展》（臺北：國立故宮博物院，1997年二月初版一刷），頁134-136。 2.劉芳如，〈迎歲集福 — 院藏鍾馗名畫特展〉，《故宮文物月刊》，第167期（1997年2月），頁96-97。
- 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
