民國鄭褧裳日暮途遠

Distant Journey at Sunset

繪畫

基本資料典藏尺寸質地題跋資料主題技法參考資料保存維護

文物統一編號	贈畫000729N000000000
作品號	贈畫00072900000
品名	民國鄭褧裳日暮途遠 Distant Journey at Sunset
分類	繪畫
作者	鄭褧裳,Zheng Jiongshang
數量	單件

位置	尺寸(公分)
本幅	118x202.5
全幅	142x248

質地位置	質地
本幅	絹

題跋類別

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位置

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鄭褧裳印記 expand_more

香山褧裳鄭錦寫

楷書

印主	印記
鄭褧裳	鄭錦

主題類別	主題(第一層)	主題(第二層)	主題說明
主要主題	人物	行旅
主要主題	走獸	騾．驢
次要主題	山水
次要主題	其他		夕陽

技法	技法細目
雙鉤

類別	參考資料
內容簡介	鄭褧裳(西元一八八三－一九五九年)名錦，廣東香山人。他早年留學日本習畫，作品曾經入選東京帝展。後來返國從事藝術教育工作，受命籌設北京美專，並且擔任校長，也曾在故宮博物院前身的古物陳列所中任職，得以有機會可以觀賞古代的繪畫名蹟。中日戰爭期間移居澳門，並在當地終老。戰火烽起之前，他曾響應晏陽初的平民教育運動，深入鄉村民間，參與縣政建設，是位入世的畫家。他擅長於畫人物，融合中國與日本的繪畫技法，尤其精於古裝仕女，秀逸雅致。畫作的尺寸通常都很大。這幅畫中描繪四野蒼茫，紅日將盡，風沙沉積，蓄勢即將颳起。飽經風霜的老人(圖一)牽著疲憊的驢兒(圖二)緩緩前行，步伐沉重但也堅定。人物和動物都具有強烈的明暗陰影，灰寒的色調更加深了歷盡滄桑之感。此畫是作於中日戰爭初期，時局動盪困頓，畫家的憂國之思躍然於紙上。本幅由鄭美成女士捐贈。
Description	Cheng Chiung-ch'ang, a native of Kwangtung, studied painting as a youth in Japan and his works were chosen for the imperial Tokyo exhibit. After returning to China, he focused on art education and established the Peking Academy of Fine Arts, serving as its president. He also worked for the palace collection, catching a glimpse of the ancient works there. During the Sino-Japanese War, he moved to Macao and remained there for the rest of his life. Before the War, he took part in the popular education movement, participating in local projects for the benefit of others. He specialized in figure painting, combining the techniques of Chinese and Japanese art. He also excelled at painting traditional ladies, reflecting on their elegance and beauty. His works were usually quite large. In a desolate scene with a setting sun in the background, a haggard old man who has obviously gone through a great deal of hardship leads a weary mule with a slow yet steady pace. The strong shading and greyish tint adds to the sense of a long and dreary winter. This work was done during the Sino-Japanese War and reflects the plight of people and China at the time. This work was donated to the National Palace Museum by Ms. Cheng Mei-ch'eng.

類別

參考資料

內容簡介

鄭褧裳(西元一八八三－一九五九年)名錦，廣東香山人。他早年留學日本習畫，作品曾經入選東京帝展。後來返國從事藝術教育工作，受命籌設北京美專，並且擔任校長，也曾在故宮博物院前身的古物陳列所中任職，得以有機會可以觀賞古代的繪畫名蹟。中日戰爭期間移居澳門，並在當地終老。戰火烽起之前，他曾響應晏陽初的平民教育運動，深入鄉村民間，參與縣政建設，是位入世的畫家。他擅長於畫人物，融合中國與日本的繪畫技法，尤其精於古裝仕女，秀逸雅致。畫作的尺寸通常都很大。這幅畫中描繪四野蒼茫，紅日將盡，風沙沉積，蓄勢即將颳起。飽經風霜的老人(圖一)牽著疲憊的驢兒(圖二)緩緩前行，步伐沉重但也堅定。人物和動物都具有強烈的明暗陰影，灰寒的色調更加深了歷盡滄桑之感。此畫是作於中日戰爭初期，時局動盪困頓，畫家的憂國之思躍然於紙上。本幅由鄭美成女士捐贈。

Description

Cheng Chiung-ch'ang, a native of Kwangtung, studied painting as a youth in Japan and his works were chosen for the imperial Tokyo exhibit. After returning to China, he focused on art education and established the Peking Academy of Fine Arts, serving as its president. He also worked for the palace collection, catching a glimpse of the ancient works there. During the Sino-Japanese War, he moved to Macao and remained there for the rest of his life. Before the War, he took part in the popular education movement, participating in local projects for the benefit of others. He specialized in figure painting, combining the techniques of Chinese and Japanese art. He also excelled at painting traditional ladies, reflecting on their elegance and beauty. His works were usually quite large. In a desolate scene with a setting sun in the background, a haggard old man who has obviously gone through a great deal of hardship leads a weary mule with a slow yet steady pace. The strong shading and greyish tint adds to the sense of a long and dreary winter. This work was done during the Sino-Japanese War and reflects the plight of people and China at the time. This work was donated to the National Palace Museum by Ms. Cheng Mei-ch'eng.

本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理

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