| 文物統一編號 |
故畫001097N000000000
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| 作品號 |
故畫00109700000 |
| 品名 |
清丁觀鵬畫唐明皇擊鞠圖 卷
Emperor Ming-huang Playing Polo |
| 分類 |
繪畫 |
| 作者 |
丁觀鵬 |
| 創作時間 |
清高宗乾隆十一年（1746） |
| 數量 |
一卷 |
| 作品語文 |
漢文 |
| 位置 |
尺寸(公分) |
| 隔水一 |
14.2 |
| 隔水二 |
14.5 |
| 本幅 |
35.6x251.9 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
丁觀鵬
印記 expand_more
|
本幅 |
乾隆十一年（西元一七四六年）花朝月。臣丁觀鵬奉敕恭臨李公麟擊毬圖。 |
楷書 |
|
|
|
| 題跋 |
清高宗
印記 expand_more
|
本幅 |
|
行書 |
唐明皇擊鞠圖 |
| 印主 |
印記 |
| 清高宗 |
席上珍 |
| 清高宗 |
乾隆御賞 |
| 清高宗 |
幾暇怡情 |
|
| 印記類別 |
印主 |
印記 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清高宗 |
內府書畫之寶 |
| 鑑藏寶璽 |
清高宗 |
內府圖書 |
| 鑑藏寶璽 |
清高宗 |
石渠定鑑 |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 鑑藏寶璽 |
清內府印 |
宜子孫 |
| 鑑藏寶璽 |
清高宗 |
保泰 |
| 鑑藏寶璽 |
清高宗 |
乾隆御玩 |
| 鑑藏寶璽 |
清高宗 |
乾隆御賞之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆鑑賞 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
寧壽宮續入石渠寶笈 |
| 鑑藏寶璽 |
清高宗 |
樂壽堂鑑藏寶 |
| 鑑藏寶璽 |
清高宗 |
寶笈重編 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
人物 |
后妃 |
|
| 主要主題 |
人物 |
帝王 |
唐明皇 |
| 主要主題 |
經史‧故事 |
|
唐明皇擊鞠圖 |
| 次要主題 |
人物 |
仕女 |
|
| 次要主題 |
人物 |
侍從（侍女、童僕） |
|
| 次要主題 |
人物 |
官員（臣） |
|
| 次要主題 |
人物 |
軍士 |
|
| 次要主題 |
走獸 |
馬 |
|
| 次要主題 |
建築 |
|
球門二 |
| 其他主題 |
器用 |
球 |
馬球；馬球球具 |
| 其他主題 |
器用 |
旗 |
|
| 類別 |
參考資料 |
| 內容簡介 |
丁觀鵬，生卒年里均不詳。乾隆年間，為內廷供奉，善畫道釋人物。其畫沿襲焦秉貞、冷枚遺緒，筆墨精微，著色穠艷。人物開臉暈染，兼採西洋光影透視法，故形象顯突，神情宛活，可視為清院畫人物之典型作品。本幅以白描法畫明皇率嬪妃宦臣等共十六人擊鞠為戲。衣紋多以李公麟之高古遊絲描刻繪，間或可見釘頭鼠尾描。筆法靈動，又摻配西畫技法，更顯生動。案。擊鞠為唐代宮廷內極為流行之戲，規則近今日之曲棍球。
|
| 內容簡介 |
丁觀鵬（約1708－1771後）是順天人。雍正四年（1726）進入宮廷任職，乾隆六年（1741）被擢升為「一等畫畫人」。善長白描人物、道釋與肖像。本幅屬水墨白描畫法，描寫唐明皇騎馬擊鞠為戲，隨侍同玩者有番族、嬪妃、太監等，共九人，畫幅的左右兩側，還設置了毬門與兩名守門員。畫中人物的衣紋，大抵是沿用李公麟（1040－1106）的「高古遊絲描」來刻繪，間或亦摻用「釘頭鼠尾描」的筆法，衣紋轉折凹處及人物臉部，均略加淡墨暈開，使更富於立體效果。擊鞠為唐代宮廷極為流行的遊藝活動，打球的人騎在馬上，用球杖擊一枚皮製實心球，規則有點像今日的曲棍球。清初吳其貞於《書畫記》一書，曾經著錄〈李龍眠擊球圖〉的內容：「長不過三尺，氣色頗佳，寫明皇貴妃及高力士諸內侍十六人，身長五六寸各自乘馬手執一長柄杓子爭擊一小球，人馬結成一堆，群目皆顧于球之上，……。」若引本幅與之比對，可謂完全相符，故推斷丁觀鵬此作，應是〈李公麟擊毬圖〉的一件臨仿本。
|
| 內容簡介 |
丁觀鵬，生卒年不詳，乾隆（西元一七三六－一七九五年）朝供奉南薰殿，順天（今北京）人。善道釋人物與山水畫，初學丁雲鵬，後兼融西方光影透視法，為清代院畫家受西洋影響的代表人物。
「擊鞠」為流行於唐代宮廷的活動，遊戲者乘馬以杆擊球入門論輸贏。本幅以白描筆法畫明皇率嬪妃宦臣等共十六人擊鞠為戲，以李公麟高古遊絲描繪寫人物衣紋，又摻配西畫技法，益顯生動。(20110405)
|
| Description |
Ding Guanpeng (native of Shuntian [modern Beijing]) was a painter at the Nanxun Hall under the Qianlong Emperor (r. 1736-1795). He excelled at Buddhist and Taoist figures and landscapes, early studying the style of Ding Yunpeng and later adding Western chiaroscuro and perspective, becoming representative of Western influence at the Qing Painting Academy. The game jiju, similar to polo, was popular in the Tang dynasty. Players rode horses and hit a ball into a goal. This is a baimiao (ink outline) depiction of Emperor Minghuang with palace ladies and attendants (16 in all) playing jiju. The drapery folds follow Li Gonglin’s ancient silk-line method, to which Ding has combined Western painting techniques to make them more lifelike.(20110405)
|
| Description |
Ting Kuan-p'eng, a native of Hsun-t'ien, entered the Ch’ing court in 1726 and in 1741 was praised as the “Painter among Painters”. He excelled at rendering figures in pai-miao monochrome ink, Buddhist and Taoist images, and portraits. This work belongs to the monochrome pai-miao manner of painting, showing the T'ang emperor Ming-huang on horseback playing a game of polo. Among those also involved in the game are non-Chinese figures, court ladies, and eunuchs for a total of nine. On either side of the painting are goals with a pair of keepers. The drapery lines generally follow the “lofty archaic gossamer” method of Li Kung-lin (1040-1106) but also involve “nail-head and rat-tail” brushwork. The shaded areas and turns of the drapery along with the faces of the figures are all slightly washed with light ink, giving them a greater sense of volume. Polo was a very popular pastime at the T'ang dynasty (618-907) court. Players would ride on horseback, using a mallet to strike a solid ball made of leather with rules similar to those of field hockey. Wu Ch'i-chen of the early Ch'ing once catalogued a painting entitled “Playing Polo” by Li Lung-mien [Kung-lin] in his Record of Painting and Calligraphy with the following description, “A marvelous atmosphere is achieved in less than the expanse of three Chinese feet, showing the sixteen figures of Ming-huang, his ladies, and high scholars and officials. Though only about five or six Chinese inches in height, nothing is lacking as they ride horses and hold long mallets to compete for the small ball. Figures and horses fuse lump together into a group as they focus all their attention on the ball…” A comparison of this painting and record reveals an almost perfect match, suggesting that Ting Kuan-p'eng was imitating Playing Polo by Li Kung-lin. In fact, Ting in his signature dated to 1747, states that this work was copied after a Li Kung-lin painting by that title.
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| Description |
Ting Kuan-p'eng was an excellent figure painter, especially of Buddhist and Taoist subjects. His painting followed the paths opened up by Chiao Ping-chen and Leng Mei. The faces of his figures are modeled with brushlines and shades of color; western methods of perspective and chiaroscuro are added. His work presents the classic model of Ch'ing court figure painting. This painting is a pai-miao ink-outline depiction of Emperor Ming-huang leading the palace ladies and attendants, a total of sixteen people, in a game of chi-chu, a popular sport at the T'ang court whose rules approximated those of modern-day polo. The clothing folds in general follow the high antiquity "spring-silkworm-spitting-silk brushstrokes" of Li Kung-lin. In places one sees "nail-head rat-tail strokes." The brushwork is lively, and a sense of vitality is achieved by the western methods of painting that are added.
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| 收藏著錄 |
石渠寶笈續編（寧壽宮），第六冊，頁3026
|
| 收藏著錄 |
故宮書畫錄（卷四），第二冊，頁267-268
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| 收藏著錄 |
故宮書畫圖錄，第二十一冊，頁47-50
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| 參考書目 |
1.劉芳如，〈丁觀鵬明皇擊鞠圖〉，收入劉芳如、張華芝主編，《群芳譜 — 女性的形象與才藝》（臺北：國立故宮博物院，2003年初版一刷），頁38- 39。
2.林柏亭、張華芝，〈清丁觀鵬畫唐明皇擊鞠圖〉，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105。
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