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清張廷彥畫登瀛洲圖 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者張廷彥,Zhang Tingyan
- 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@#@169.2x87.9
- 質地本幅@#@紙
- 題跋資料作者款識@#@張廷彥@#@本幅@#@臣張廷彥恭畫@#@楷書@#@@#@題跋@#@清高宗@#@本幅@#@戊子（西元一七六八年）仲春上澣御題@#@行書@#@大烹豐養出官庖。藩邸高材彙拔茅。可惜諸人熟經史。未知乾卦九初爻。戊子（西元一七六八年）仲春上澣御題。
- 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@#@樂壽堂鑑藏寶@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@嘉慶鑑賞@#@@#@鑑藏寶璽@#@寶笈三編@#@@#@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@#@宣統御覽之寶
- 主題主要主題@#@山水@#@名勝@#@瀛洲@#@@#@主要主題@#@經史‧故事@#@唐十八學士登瀛洲 @#@@#@主要主題@#@建築@#@橋@#@@#@主要主題@#@人物@#@官員（臣）@#@十八學士 @#@@#@主要主題@#@樹木@#@楊柳@#@楊@#@@#@次要主題@#@船@#@漁船@#@@#@次要主題@#@建築@#@迴廊@#@@#@次要主題@#@建築@#@水利@#@水閘@#@@#@次要主題@#@建築@#@欄杆@#@@#@次要主題@#@建築@#@亭@#@@#@次要主題@#@建築@#@宮殿@#@@#@次要主題@#@樹木@#@松@#@@#@次要主題@#@樹木@#@柏@#@@#@次要主題@#@人物@#@侍從（侍女、童僕）@#@侍從、童僕 @#@@#@次要主題@#@建築@#@臺閣@#@@#@次要主題@#@走獸@#@馬@#@三@#@@#@次要主題@#@器用@#@文玩（琴棋書畫）@#@琴、書（書卷）@#@@#@次要主題@#@建築@#@水榭@#@@#@其他主題@#@山水@#@田疇@#@@#@其他主題@#@器用@#@香爐．火盆@#@爐@#@@#@其他主題@#@器用@#@文房用具@#@紙筒、筆、水盂@#@@#@其他主題@#@器用@#@花器@#@花瓶@#@@#@其他主題@#@器用@#@飲食器@#@茶杯、壺、茶盤、食盒@#@@#@其他主題@#@器用@#@傢俱（屏風）@#@桌椅@#@@#@其他主題@#@建築@#@庭院@#@@#@其他主題@#@山水@#@瀑布@#@@#@其他主題@#@走獸@#@鹿@#@一@#@@#@其他主題@#@樹木@#@竹@#@@#@其他主題@#@樹木@#@@#@其他主題@#@山水@#@江河、湖海@#@江河@#@@#@其他主題@#@山水@#@石磴、棧道@#@石磴
- 技法工筆@#@@#@界畫@#@@#@皴法@#@@#@皴法@#@披麻皴@#@@#@皴法@#@雨點皴@#@@#@皴法@#@斧劈皴@#@@#@人物衣紋描法(粗細線條)
- 參考資料收藏著錄@#@石渠寶笈三編（延春閣），第五冊，頁2453@#@@#@收藏著錄@#@故宮書畫錄（卷八），第四冊，頁127@#@@#@收藏著錄@#@故宮書畫圖錄，第十三冊，頁431-432@#@@#@參考書目@#@1.陳德馨，〈治世能臣抑或危國邀功之徒？ 張廷彥〈登瀛洲圖〉與乾隆題畫詩的解析〉，《故宮文物月刊》，第268期（2005年7月），頁66-77。 @#@@#@參考書目@#@林宛儒，〈清張廷彥畫登瀛洲圖 軸〉，收入《以文會友-雅集圖特展》（臺北：國立故宮博物院，2019.10），頁200-207、280。@#@@#@參考書目@#@何傳馨，〈清張廷彥畫登瀛洲圖 軸〉，收入《十全乾隆─清高宗的藝術品味》（臺北：國立故宮博物院，2013.10），頁278-279。@#@@#@內容簡介（中文）@#@張廷彥，生卒年里均不詳。乾隆時，供奉內廷，工人物畫。登瀛洲，典出唐書，褚亮傳。太宗既平寇亂，留意儒學，乃於宮城西起文學館，以待四方文士。並屬杜如晦、房玄齡等，以本官兼文學館學士。遣人圖其狀貌，題其名字爵里，復命褚亮為像贊，號十八學士。寫真圖藏之書府，以彰禮賢之重，預入館者時所傾慕，謂之登瀛洲。此幅畫法極為工緻精細，可為院畫之代表作品。@#@@#@內容簡介（英文）@#@Nothing is known of Chang T’ing-yen’s life except that he was active during the Ch’ien-lung era (1736-1795) when he was a member of the palace painting academy. He was an excellent figure painter. Teng Ying-chou refers to an episode from the Biography of Ch’u Liang. In 621 Emperor T’ai-tsung, built the Wen-hsueh Hall (Hall of Literature) to the west of the palace. He summoned there the greatest scholars of the Empire and ordered Yen Li-pen to paint their portraits and Ch’u Liang to inscribe a commemorative eulogy. The emperor had recorded their names and ranks, giving them the name of ‘The Eighteen Scholars.’ The work was kept in the palace collections to demonstrate the court’s attention to cultural life. The gathering of the scholars made such a deep impression throughout the empire that the name of the event was recorded in history. Although the original scroll was lost much earlier, this painting done with painstaking attention to minute detail, commemorates the scholarly meeting. It is a good representative of Ch’ing Academy painting. @#@@#@內容簡介（英文）@#@ The court painter Chang T'ing-yen was a native of Yangchow and active in the Ch’ien-lung era (1736-1795). Chang’s father, Chang Wei-pang, was a painter in the Ju-i Hall at court and once studied painting from the Italian Jesuit Giuseppe Castiglione, his fusion of Western and Chinese methods winning court approval. With his father's influence, Chang T'ing-yen also had the chance to serve the court, taking part in several cooperative projects from 1744 to 1767. He also cooperated in painting with Castiglione. This work incorporates elements of Western perspective, in which objects near and far correspond to their ratio of sizes in reality, thus giving the classical T'ang (618-907) theme of the Eighteen Scholars a modern interpretation.
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