清郎世寧百駿圖 卷

清郎世寧百駿圖 卷

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資料識別:
故畫000916N000000000
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:
馬 松 圉人 帳篷 江河、湖海 楊柳
出版者:
數位化執行單位:國立故宮博物院
日期:
清世宗雍正六年(1728)
格式:
本幅 94.5x776.2公分
關聯:
石渠寶笈初編(御書房),下冊,頁1071&*故宮書畫錄(卷四),第二冊,頁288&*故宮書畫圖錄,第二十一冊,頁187-190&*1.王耀庭、陳韻如,〈清郎世寧百駿圖〉,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58-65。 2.林莉娜,〈百駿圖〉,收入林柏亭主編,《國寶菁華 — 書畫•圖書文獻篇》(臺北:國立故宮博物院,2006年12月),頁214。 3.林柏亭、張華芝,〈清郎世寧百駿圖〉,收入林柏亭、張華芝編,《畫馬名品特展圖錄》(臺北:國立故宮博物院,1990年元月初版),頁100-101。 4.本社,〈清郎世寧百駿圖〉,《故宮文物月刊》,第65期(1988年8月),頁1。 5.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94。 6.林莉娜,〈展品選介 — 清郎世寧百駿圖〉,《故宮文物月刊》,第319期(2009年10月),頁108。 7.林莉娜,〈清 郎世寧 百駿圖〉,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318-319。 8.陳韻如,〈製作真境:重估〈清院本清明上河圖〉在雍正朝畫院之畫史意義〉,《故宮學術季刊》,第28卷第2期(2010年冬),頁1-64。 9.馬雅貞,〈清代宮廷畫馬語彙的轉換與意義 — 從郎世寧的《百駿圖》談起〉,《故宮學術季刊》,第27卷第3期(2010年春),頁103-138。 &*郎世寧(西元一六八八-一七六六年)是意大利來華傳教的耶穌會教士,他以精湛的繪畫技藝而供奉朝廷,歷仕康熙、雍正、乾隆三朝。善繪人物、花鳥、禽獸。 本幅畫姿勢各異的駿馬百匹,遊憩於草原之間,樹石、山水、人物無不寫實精緻。全幅色彩濃麗,構圖繁複,形象逼肖;又以中國傳統畫技法加入西洋光影透視法及西畫顏料,使畫面顯得中西趣味兼容併蓄,為郎氏早期典型代表作品之一。&*Giuseppe Castiglione, also known by his Chinese name Lang Shih-ning, was a Jesuit missionary from Italy. Known for his exceptionally fine skill in painting, his work was appreciated by 3 emperors and he painted for the Ch’ing court. In China, he excelled at painting figures and animals. This work shows a plain with a hundred horses at leisure in various poses. Every detail was realistically done. The beautiful coloring, intricate composition, and compelling realism reveals a fusion of Eastern and Western techniques. Traditional Chinese techniques were combined with Western shading and perspective as well as Western materials, revealing a true meeting of East and West. This work is representative of Castiglione’s early style. &*這是郎世寧的前期作品。在長達七公尺的長卷上,描繪著秋季牧放馬群的景象。姿態各異的駿馬百匹,遊憩在草原、林木之間,透過細膩的光影變化呈現出精緻的寫實特質。從構圖上看,畫中雖一方面延續著中國牧放馬群的傳統圖式,但又於山水林佈置上充分顯露著西洋深遠效果,馬匹的大小也隨之而有比例的變化。遠山石塊畫法,更異於中國傳統筆法,在林木上亦多堆疊顏料的處理。 &*This is an early painting by Giuseppe Castiglione, one of the most famous Europeans in the service of the Ch’ing dynasty court. This handscroll more than seven meters long depicts a scene of taking a herd of horses out to pasture in autumn. The hundred steeds are shown in a variety of poses and activities as they leisurely make their way around the pastures and trees. Castiglione, using refined gradations of light and shadow, has rendered an exceptionally realistic scene. Although the painting compositionally represents a continuation of traditional arrangements of herding horses in Chinese art, the placement and depiction of the trees and landscape elements clearly reveal the deep atmospheric effect often found in Western art. Even the sizes of the horses vary with the distance and are shown in relative proportion. Likewise, the painting method for the distant mountain rocks is distinct from that seen in traditional Chinese brushwork, with layered pigments also seen among the trees.
管理權:
國立故宮博物院

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http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061

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