清佛延畫油畫山水圖 冊
Oil Paintings of Landscape on Paper
繪畫
| 文物統一編號 | 故畫003423N000000000 |
| 作品號 | 故畫00342300000 |
| 品名 |
清佛延畫油畫山水圖 冊 Oil Paintings of Landscape on Paper |
| 分類 | 繪畫 |
| 作者 | 佛延 |
| 數量 | 一冊：八開（本幅八開八幅） |
| 類別 | 集叢名稱 | 件 | 開 | 幅 |
|---|---|---|---|---|
| 著錄細目 | 清佛延畫油畫山水圖 冊 山水（一） | 01 | 01 | 01 |
| 著錄細目 | 清佛延畫油畫山水圖 冊 山水（二） | 02 | 02 | 02 |
| 著錄細目 | 清佛延畫油畫山水圖 冊 山水（三） | 03 | 03 | 03 |
| 著錄細目 | 清佛延畫油畫山水圖 冊 山水（四） | 04 | 04 | 04 |
| 著錄細目 | 清佛延畫油畫山水圖 冊 山水（五） | 05 | 05 | 05 |
| 著錄細目 | 清佛延畫油畫山水圖 冊 山水（六） | 06 | 06 | 06 |
| 著錄細目 | 清佛延畫油畫山水圖 冊 山水（七） | 07 | 07 | 07 |
| 著錄細目 | 清佛延畫油畫山水圖 冊 山水（八） | 08 | 08 | 08 |
| 位置 | 尺寸(公分) |
|---|---|
| 本幅 | 39.3x33.4 |
| 質地位置 | 質地 |
|---|---|
| 本幅 | 紙 |
| 印記類別 | 印主 | 印記 |
|---|---|---|
| 鑑藏寶璽 | 宣統帝 | 宣統御覽之寶 |
| 類別 | 參考資料 |
|---|---|
| 內容簡介 | 佛延，生平待考。十七世紀初，當西洋傳教士攜帶油畫天主母像進入中國，曾被讚譽「眉目衣紋，如明鏡涵影， 喁喁欲動，端莊娟秀，非中國畫家所能措手。」油畫的寫實長處，對形象正確的描繪，正足清楚地表達物象，以及人類的各種活動。清朝宮廷中有郎世寧等西洋傳教士畫家，曾教導中國畫家如丁觀鵬等學習油畫。清宮繪畫中富有西洋風，也是特色之一，是以清宮中存有西洋畫作品。此即其一。本幅畫小屋數間，建立於小山阜之上，旁有樹叢，小橋與外界相通，遠處數峰如屏。本幅構圖、畫山、畫樹均一如中國山水畫。所見清宮西洋畫均以人物為多，若以西洋畫彩做純如傳統山水畫筆法構景者，確實是少見，惟因用西洋油彩，色調與中國畫相異，別有一番趣味。(王耀庭) |
| 內容簡介 | 佛延，生平待考。按清初傳教士供奉內廷，曾奉命作西洋畫，亦於宮中教授中國人學習洋畫，是以清宮中存有西洋畫作品。此即其一。 本幅畫小屋數間，建立於小山阜之上，旁有樹叢，小橋與外界相通，遠處數峰如屏。本幅構圖、畫山、畫樹均一如中國山水畫，惟因用西洋油彩，色調與國畫相異，別有一番趣味。 |
| 內容簡介 | 佛延，生平年里待考。 本冊以油彩繪於紙上，畫法以傳統山水技法為主，然部份畫樹亦有光暗分明之感。 |
| 內容簡介 | 依據活計清檔，從郎世寧學習的宮廷畫家有烏林人佛延，此套冊頁作者題為佛延，是否即是曾與郎世寧習畫者待考。然本冊以油彩繪在紙上，畫法雖是傳統山水技法為主，但是畫樹部份則有光影明暗的處理效果，且因油彩作畫色調與中國畫風效果相異，別有一番趣味。此套冊頁有八開，此次展出其中三開。 |
| Description | According to archival records of the Ch’ing court, a person by the name of Fo-yen from U-lin studied painting under Giuseppe Castiglione (1688-1766). The name attached to this set of album leaves is also given as Fo-yen, but it remains unclear if it is the same person said to have learned painting from Castiglione. The fact that oil colors were painted on paper in this album reveals painting methods mostly differing from the techniques of traditional Chinese landscape painting. Furthermore, the rendering of shadows and the effect of shading in the area of the trees is also quite unusual. The use of and treatment with oils make this work different from that seen in Chinese painting styles and therefore quite unique. This album includes eight leaves, of which three have been selected for this exhibit. |
| Description | The exact birth and death dates of Fwo Yen are not known. Although brushed with Western-style oil paints on heavily sized paper, the style of this painting follows traditional Chinese landscape modes. The modulation of the oil pigments for light and dark contrasts does, however, lend the work a feeling of three-dimensionality more akin to Occidental tradition. |
| Description | During the early Ch’ing years, the Catholic missionaries serving at the Court were ordered to not only make oil paintings but also instruct Chinese painters in the art. This accounts for the presence of some oil paintings in the collection of the Ch’ing palace. And the present work is one created under such circumstances. With respect to composition and rendering of mountains and trees, this painting has similar style of representation to that of Chinese drawing; but owing to its being done in oil, it gives different sensation of coloring and tonalities alongside Chinese works. |
| 收藏著錄 | 故宮書畫錄（卷八），第四冊，頁157 |
| 收藏著錄 | 故宮書畫圖錄，第二十五冊，頁318-319 |
| 參考書目 | 1.王耀庭、陳韻如，〈清佛延畫油畫山水圖〉，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94-97。 |
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