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- 資料識別：
- 故畫002948N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 主題與關鍵字：
- 鬼怪 服飾（對人） 石榴 蝙蝠 鍾馗
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 128.2x49.3公分、全幅 80.7公分
- 關聯：
- 石渠寶笈三編（延春閣），第五冊，頁2484 &*故宮書畫錄（卷八），第四冊，頁137 &*故宮書畫圖錄，第十四冊，頁415-416&*本幅繪鍾馗身著朱衣，左手攬鏡自照，右手持烏帽。膝下則坐攝四鬼，另一蝙蝠翔於前。題云︰「豐綏先兆」，或即取「封祟仙照」的諧音。 畫無作者款印。惟鍾馗照鏡圖，於清以前未嘗見及。清代，始見方薰（十八世紀末）繪「鍾馗對鏡」（一七九七），及高其佩（一七六二—一八三四）指墨「鏡中鍾馗」。若與本幅相較，「豐綏先兆」畫法，雖和前舉二圖不盡相侔，但試圖展現祥瑞、幽默的情味則一，故推斷此作應出自清人之手。&*本幅繪鍾馗著朱袍，左手攬鏡自照，右手持烏帽。胯下坐攝四鬼，一蝙蝠翱翔於前。按鍾馗天生貌醜，偶然端詳鏡中自影，心頭亦不免一驚，表情引人莞爾。畫題作「豐綏先兆」，或即取「封祟仙照」的諧音。現存以鍾馗照鏡入畫者，均不早於清代，其中又以十八世紀高其佩〈鏡中鍾馗〉及方薰〈鍾馗對鏡〉為最早。本幅畫法雖與兩圖相異，但展現祥瑞、幽默的旨趣則一，推斷亦出自清人手筆。(20100101)&*This work depicts the legendary demon-queller Zhong Kui dressed in a red robe. He looks at himself in a mirror in his left hand, and in his right hand is his dark cap. He is seated on four crouching demons as a bat flies above. Zhong Kui was known for his disfigured looks, so when he saw himself by chance in a mirror, he naturally was startled, thus accounting for the expression here. The title of this work is a homonym for the blessing “Ennobled Reflection of an Immortal.” All depictions of Zhong Kui viewing a mirror are no earlier than the Qing dynasty, and the earliest ones are from the 18th century, such as by Gao Qipei and Fang Xun. Though the style here differs from those of these two artists, it still shares the qualities of auspiciousness and humor, suggesting this also was by a Qing dynasty painter.(20100101)&* In this painting, Chung K’uei wears a read robe and lifts a mirror in his left hand to look at himself. He holds his dark cap in his right hand and is seated on a support formed by the bodies of demons. An auspicious bat appears above. The full title of this painting, “Abundant Peace as Auspicious Omen (feng-sui hsien-chao豐綏先兆) is a homonym for the blessing” “Ennobled Reflection of an Immortal (feng-ch’ung hsien-chao封崇仙照)”;hence the subject matter. This painting has neither signature nor seal of the artists. The image of Chung K’uei looking in a mirror is not found prior to Ch’ing dynasty (1644-1911). In the Ch’ing, the subject appears in such works as “Chung K’uei Looking in a Mirror” done by Fang Hsün (fl. late 18th c.) in 1797 and “Chung K’uei in a Mirror” by the fingernail painter Kao Ch’I-p’ei (1672-1734). Compared with these two works, the techique in “Auspicious Omen” differs, but the combination of auspiciousness and humor indicates that this work probably comes the hand of a Ch’ing painter. &* 鍾馗朱衣，左手持鏡自照，右手執烏帽，坐攝三鬼，膝挾一鬼執榴花。一蝙蝠飛翔於前方。按鍾馗貌本醜陋，鏡中自我端詳，表情訝異。畫家構思，頗為別緻。&* Chung K’uei, the devil queller, is dressed in red with a mirror in his left hand and a hat in his right hand. Underneath him there are three tame devils and another one, holding a pomegranate branch, is seized between his knees. A bat, the symbol of happiness, is flying in the upper corner. The representation of the theme is unusually original in showing the ugly Chung K’uei astonished by his own face in the mirror. &*1.劉芳如，〈無款豐綏先兆圖〉，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149-150。 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108。
- 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
