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唐韓幹猿馬 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者韓幹,Han Gan
- 色彩設色
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@136.8x48.4@#@@#@全幅@#@274.8x71.3
- 質地本幅@#@絹
- 題跋資料題跋@#@宋徽宗@#@本幅@#@楷書@#@唐韓幹筆。@#@@#@題跋@#@清高宗@#@本幅@#@辛巳（西元一七六一年）春日御題。@#@行書@#@馬放霜蹄馳峻坂。猿伸月臂掛喬枝。既云意寓㕘同契。淩厲超騰又底為。辛巳（西元一七六一年）春日御題。
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@乾隆鑑賞@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫@#@@#@鑑藏寶璽@#@乾隆御賞之寶@#@@#@鑑藏寶璽@#@重華宮鑑藏寶@#@@#@鑑藏寶璽@#@樂善堂圖書記@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@收傳印記@#@緝熙殿寶
- 主題主要主題@#@走獸@#@馬@#@二匹@#@@#@次要主題@#@走獸@#@猿@#@三隻@#@@#@其他主題@#@山水@#@奇石@#@@#@其他主題@#@樹木@#@寒林．枯樹@#@枯樹@#@@#@其他主題@#@樹木@#@竹@#@@#@其他主題@#@樹木
- 技法工筆@#@@#@雙鉤@#@@#@皴法
- 參考資料收藏著錄@#@石渠寶笈初編（重華宮），下冊，頁792@#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁7@#@@#@收藏著錄@#@故宮書畫圖錄，第一冊，頁21-22@#@@#@參考書目@#@1.林柏亭、張華芝，〈唐韓幹猿馬圖〉，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81-82。 @#@@#@內容簡介（中文）@#@此幅繪竹石樹林，三猿戲於枝間石上，其下繪黑白雙駿，作徐行之狀。無款，舊題韓幹作，但徽宗題字和「御書」一璽，及理宗「緝熙殿寶」璽皆存疑，故當為後人仿作。韓幹，大梁人（河南開封），亦有作長安或藍田人。天寶（七四二－七五五）初，召入宮中為供奉。曾師曹霸，以畫馬而得名，唐張彥遠極為推崇之。@#@@#@內容簡介（中文）@#@本幅無款，舊題唐代韓幹作。韓幹，大梁人（河南開封），亦有作長安或藍田人。天寶（七四二－七五五）召入宮中為供奉。曾師曹霸，以畫馬而得名，唐張彥遠極為推崇之。此幅繪竹石樹林，三猿戲於枝間石上，其下繪黑白雙駿。畫上宋徽宗題字和「御書」一璽，及理宗「緝熙殿寶」璽皆偽，當為後加。然畫中不論猿、馬、樹石、枝葉，皆描繪細膩，或為南宋作品。@#@@#@內容簡介（英文）@#@With no seal or signature of the artist, this work was attributed to Han Kan. A native of Ta-liang (modern K’ai-feng, Honan), he is also said to be from Ch’ang-an or Lan-t’ien. Called to court in the T’ien-pao era (742-755), he studied under Ts’ao Pa and was famous for painting horses, being admired by the T’ang critic Chang Yen-yuan. In this work of bamboo, rocks, and trees are 3 gibbons among branches and on a rock. Below are a black and a white steed leisurely trotting. The inscription and yu-shu (“imperial work”) seal of the Sung emperor Hui-tsung and “Treasure of the Ch’i-hsi Hall” seal of the Sung emperor Li-tsung are spurious and later additions. All the motifs are finely rendered, though, suggesting a Southern Sung (1127-1279) date.@#@@#@內容簡介（英文）@#@In the upper part of this picture are three gibbons-one plays on a large rock and two are among tree branches. Under the tree, two horses canter side-by-side. Though the painting has neither seal nor signature of the artist, it has been traditionally attributed to Han Kan. The Hui-tsung (r. 1101-1125) inscription and Yu-shu ("Imperially-written") seal, as well as the Ch'i-hsi-tien pao ("Treasure of the Ch'i-hsi Hall") seal of Li-tsung (r.1225-1264), also seem suspicious, suggesting that this painting was probably done by a later painter. Han Kan was a native of Ta-liang (K'ai-feng, Honan), though some records indicate that he came from Ch’ang-an or Lan-t'ien, Shensi. He entered court service in the early T'ien-pao era (742-755) as a painter and studied under Ts’ao Pa, a famous painter of horses. He, too, became famous for painting horses. His works were highly admired by Chang Yen-yuan (ca. 815-after 875), the T'ang connoisseur and critic.
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