清郎世寧畫白鷹 軸
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- 資料識別：
- 故畫000957N000000000
- 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：
- 鷹 傢俱（屏風）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 清高宗乾隆三十年（1765）
- 格式：
- 本幅 179.9x99.2公分、全幅 128.2公分
- 關聯：
- 石渠寶笈續編（養心殿），第三冊，頁1268&*故宮書畫錄（卷五），第三冊，頁575&*故宮書畫圖錄，第十四冊，頁31-32&*1.王耀庭、陳韻如，〈清郎世寧畫白鷹〉，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84-85。 2.韓北新，〈郎世寧繪畫繫年(五)〉，《故宮文物月刊》，第71期（1989年2月），頁71。 &* 郎世寧（西元一六八八至一七六六年），意大利人，十九歲時，入天主教耶穌會為修士。曾習油畫，兼習建築。二十七歲來華傳教，以繪事供奉內廷。歷仕康熙、雍正、乾隆三朝。畫法參酌中西，善畫人物花鳥，尤擅犬馬。 乾隆三十年（一七六五）新正，藩臣阿約爾進白鷹一架，郎世寧奉旨對景寫生。白鷹猛鷙之性，虎虎若生，韝簾等物，亦描寫入微。本幅為郎氏紀年畫作之中最晚的作品，時年已屆七十七歲。 &*Lang Shih-ning is the Chinese name used by the Italian, Giuseppe Castiglione. At the age of 19, Castiglione entered the Jesuit order in Italy as a novitiate, and his early training included painting and architecture. He was subsequently sent to China and arrived in 1715. His artistic skills came to the attention of the emperor, and he served in the inner court during the K’ang-hsi (1662-1722), Yung-cheng (1723-1735), and Ch’ien-lung (1736-1795) reigns as a painter. He combined his previous training with studies of Chinese painting techniques to create a style fusing the best of both traditions. He excelled at depicting figures, birds-and-flowers, and especially dogs and horses. During the New Year of the thirtieth year of the Ch’ien-lung emperor’s reign (i.e., 1765), the subject official A-yüeh-er presented this white hawk and stand. Castiglione was thereupon commissioned to paint the bird. Its fierce stare is shown clearly, and the accessories have been rendered with careful detail. This is the latest known dated work by Castiglione, having been done at the age of 77. &*為乾隆三十年（1765）正月喀爾喀多羅貝勒所進貢的白鷹，而由郎世寧描繪所成。白鷹以黃絹繩繫在鷹架之上，頭略側轉，姿態十分具有寫生意味。在此類畫鷹與鷹架的圖繪作品中，本件具有乾隆三十年的御題，可以說是郎世寧最晚年的作品之一。鷹架的描繪雖然也十分講究，對於物質面的差異多有強調，但還是流露著些許規格化的傾向，鷹架應非出自郎世寧之筆。&*In the first lunar month of 1765 during the Ch’ien-lung reign (1736-1795), the Doroi Beile (High Lord) Khalka submitted as tribute to the Ch’ing court a white falcon, which was painted by Giuseppe Castiglione. The white falcon here is tied to a falcon stand with yellow silk cord. Turning its head to the side, the pose is that of great realism. Among the paintings of this type with a falcon on a falcon stand, this particular piece bears an imperial inscription from 1765, indicating it is one of the last works done by Castiglione, who died the following year. Exceptional attention was paid to the details of the falcon stand, emphasizing the differences in textures and features of the objects. However, the falcon stand reveals some degree of patterning in the painting, indicating it was probably not done by Castiglione personally.
- 管理權：
- 國立故宮博物院
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- 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
