跳到主要內容區塊
:::
清焦秉貞畫仕女圖 冊
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者焦秉貞
- 裝裱形式冊(摺裝)
- 數量一冊：八開（本幅畫八開八幅）
- 集叢號-類型總集
- 典藏尺寸本幅@#@30.9x20.4
- 質地本幅@#@絹
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@嘉慶鑑賞@#@@#@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@#@寶笈三編@#@@#@鑑藏寶璽@#@宣統御覽之寶
- 參考資料收藏著錄@#@石渠寶笈三編（乾清宮），第二冊，頁588@#@@#@收藏著錄@#@故宮書畫錄（卷八），第四冊，頁144 @#@@#@收藏著錄@#@故宮書畫圖錄，第二十五冊，頁46-47@#@@#@參考書目@#@1.王耀庭、陳韻如，〈清焦秉貞畫仕女圖(冊02、05)〉，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34-35。 2.本社，〈清焦秉貞仕女冊〉，《故宮文物月刊》，第53期（1987年8月），頁4-12。 3.劉芳如，〈清焦秉貞蓮舟晚泊〉，收入國立故宮博物院編輯委員會編，《仕女畫之美》（臺北：國立故宮博物院，1988年四月初版），頁87-88。 4.林莉娜，〈仕女圖〉，收入馮明珠主編，《康熙大帝與太陽王路易十四特展》（臺北：國立故宮博物院，2011年十月初版），頁44。 @#@@#@內容簡介（中文）@#@焦秉貞（約活動於一六八九─一七二六年間），山東濟寧人。曾任職欽天監，與歐洲人南懷仁共事，或因此接觸西洋畫法，致其人物、宮室均有西畫繪技之影響。 本冊共有八幅，描繪四季仕女悠閒的生活。建築結構運用透視法，立體空間深入畫面；仕女的臉、手部份亦著意於凹凸之表現，充分顯示其為康熙朝第一位融合西洋繪技於畫中的宮廷畫家。@#@@#@內容簡介（中文）@#@焦秉貞生曾為康熙時的欽天監，作品以康熙三十五年（1696）的〈耕織圖〉最著，其畫作受到康熙帝的讚賞。此畫冊共有八開，皆畫樓閣亭台間的仕女活動。特別在建築物的表現上運用西洋透視法則，營造仕女穿繞在庭園建築之間的場面。焦秉貞的仕女具獨特風格，皆是頭額略寬，下巴收尖的開臉造型，身體顯得輕薄、扁平，這類仕女畫法為冷枚、陳枚等清宮畫家沿用，蔚成清宮仕女畫特徵。@#@@#@內容簡介（中文）@#@焦秉貞（西元十七─十八世紀），山東濟寧人。曾任職欽天監，與比利時傳教士南懷仁（一六二三－一六八八）共過事，緣此接觸到西洋畫，所繪人物、宮室，深受西方凹凸技法之影響，是康熙朝首位將西洋畫法融入中國畫的宮廷畫家。 全冊共八幅，本次展出第一至第四幅。描繪仕女於不同季節中，所展現的各種悠閒情態。背景建築，採用透視畫法，重視染暈，立體感十足，與傳統殊異。(20100101)@#@@#@內容簡介（英文）@#@Jiao Bingzhen, a native of Jining, Shandong, served in the Directorate of Astronomy and had the chance to work with the Belgian missionary Ferdinand Verbiest (1623-1688) and thus came in contact with Western painting. His depictions of figures and palatial buildings were influenced by Western methods of shading, and he was the first Kangxi court artist to incorporate Western techniques in Chinese painting. This album consists of eight leaves, of which four are on display here. The ladies appear in different seasons and engaged in various leisurely activities. The buildings are also rendered using Western methods of perspective, and the strong sense of shading to the washes creates a highly volumetric effect differing much from traditional Chinese techniques.(20100101) @#@@#@內容簡介（英文）@#@Chiao Ping-chen was active in the Directorate of Astronomy during K’ang-hsi reign (1662-1722). As a painter, he is best known for his “Illustrations of Agriculture and Sericulture,” his style much appreciated by the K’ang-hsi Emperor. This album composed of eight leaves depicts activities of ladies among buildings. Of particular note is the use of Western perspective in rendering the architecture, presenting scenes of ladies realistically making their way among the gardens and buildings. Chiao Ping-chen’s style of painting ladies was unique, representing figures with foreheads slightly wider and a narrow chin. Their bodies are also often depicted as wispy and thin, serving as a model for the painting of ladies adopted by such other court painters as Leng Mei (fl. ca. 1677-1742) and Ch’en Mei (ca. 1694-1745). These became the distinctive features of lady paintings at the Ch’ing court.@#@@#@內容簡介（英文）@#@Chiao Ping-chen, a native of Shantung, served in the Directorate of Astronomy at court, where he worked with Europeans. He came in contact with European painting styles, which influenced the rendering of figural and architectural subjects in Ch’ing court art. This album of 8 leaves depicts the leisurely life of court ladies during the four seasons. The architectural elements are rendered with perspective and proportion, adding depth to the scenes. The use of shading for the faces and hands of the ladies clearly shows that Chiao was the first painter under the K’ang-his Emperor (r. 1662-1722) to combine the modes of Western and Chinese styles in his works.
- 地圖
引用資訊
本網站使用Cookies收集資料用於量化統計與分析，以進行服務品質之改善。請點選"接受"，若未做任何選擇，或將本視窗關閉，本站預設選擇拒絕。進一步Cookies資料之處理，請參閱本站之隱私權宣告。