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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈三編（延春閣），第五冊，頁2473
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁578
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收藏著錄 |
故宮書畫圖錄，第十四冊，頁57-58
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參考書目 |
1.王耀庭、陳韻如，〈清郎世寧畫瓶花〉，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68-69。
2.〈清郎世寧畫瓶花〉，收入國立故宮博物院編輯委員會編，《牡丹名畫特展圖錄》（臺北：國立故宮博物院，1987年四月初版），頁47。
3.韓北新，〈郎世寧繪畫繫年(六)〉，《故宮文物月刊》，第72期（1989年3月），頁53。
4.〈清郎世寧畫瓶花 軸〉，收入譚怡令、劉芳如、林莉娜主編，《滿庭芳-歷代花卉名品特展》（臺北：國立故宮博物院，2010年十二月初版一刷），頁222-223。
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內容簡介（中文） |
郎世寧（西元一六八八－一七六六年），意大利人。十九歲入天主教耶穌會為修士，習畫與建築。二十七歲來華傳教，召入內廷供奉。善畫人物花鳥，尤善畫馬。設色畫青花瓷瓶，內供並蒂牡丹。郎世寧作畫，往往於中國傳統畫法，加入西洋光影透視法，故所作皆色彩穠艷，形象逼肖，此幅亦不例外。
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內容簡介（英文） |
Lang Shih-ning, the Chinese name of the Italian Giuseppe Castiglione, at 19 entered the Jesuit order as a novitiate and studied painting and architecture. As a missionary, he arrived in China at 27 and went on to serve the court as a painter, excelling at figures, birds-and-flowers, and especially horses. Shown here is a blue-and-white ceramic vase with a stalk of peonies. When Castiglione painted, he often added elements of Western perspective and shading to Chinese methods, giving colors fullness and objects realism. This “squarish blue-and-white vase with morning glory décor” originally appeared in the Hsuan-te era(1426-1435) of the Ming. Reproduced in the following Ch'ing dynasty, the Museum collection includes many such examples.
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內容簡介（英文） |
Lang Shih-ning is the Chinese name of the Italian Giuseppe Castiglione. Castiglione entered the Jesuit order at the age of nineteen and studied painting and architecture. At the age of twenty-seven he came to China as a missionary and was called to serve at the Inner Court. Noted for his paintings of human figures and flowers and birds, he is particularly famous for his horse paintings. A blue-and-white porcelain vase holds several stems of budding peonies. Here Lang Shih-ning has characteristically combined traditional Chinese painting methods with Western notions of chiaroscuro and perspective, producing brilliantly colored and very realistic results.
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內容簡介（英文） |
A blue-and-white porcelain vase holds several stems of budding peonies. Here Lang Shih-ning has characteristically combined traditional Chinese painting methods with Western notions of chiaroscuro and perspective, producing brilliantly colored and very realistic results. Lang Shih-ning is the Chinese name of the Italian Giuseppe Castiglione. Castiglione entered the Jesuit order at the age of nineteen and studied painting and architecture. At the age of twenty-seven he came to China as a missionary and was called to serve at the Inner Court. Noted for his paintings of human figures and flowers and birds, he is particularly famous for his horse paintings.
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內容簡介（中文） |
青花瓷瓶中插有並蒂牡丹一枝，此畫沒有紀年，但從郎世寧的宋體款題推測，應屬雍正年間的作品。對於牡丹花卉的描寫，與〈聚瑞圖〉同樣不強調輪廓勾勒，敷用色彩的手法也十分相近。加上對於光影的處理，乃至於對於瓷器釉光的掌握等，都顯示著相同年代的特質。畫中瓷瓶為兩獸耳，花紋為牽牛花，與院藏〈明青花牽牛花折方瓶〉十分相似。
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內容簡介（英文） |
This painting depicts an underglaze blue vase with a twin stalk of peony blossoms. The work is undated, but the Sung-script style of Castiglione’s signature probably dates it from the Yung-cheng reign (1723-1735). The description of the peony blossoms is similar to that found in the lotuses of Castiglione’s “Assembled Auspiciousness” on display here, in which much less emphasis is placed on the outlines of the forms. The two works are also very similar in terms of the techniques of color usage. Combined with the treatment of shadows, in which even the luster of the glaze on the porcelain has been observed and faithfully rendered, these two works reveal features common to the same period of Castiglione’s career. The porcelain vase depicted here has two beast figures for handles, and the decoration is composed of morning glory, which make it very similar to a piece in the National Palace Museum collection entitled “Rectangular Ming dynasty underglaze blue vase of morning glory stems.”
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網頁展示說明 |
義大利籍傳教士畫家郎世寧（Giuseppe Castiglione，1688-1766），於康熙五十四年（1715）來華傳教，被召入內廷為畫院供奉，並將歐洲油畫寫實技巧及焦點透視法傳入宮廷。善寫生花鳥，尤工畫馬。
郎氏融合中國傳統畫法與西洋透視法，繪牡丹以色彩深淺來表現層次感，葉面正反向背，葉脈勾勒寫實，極富立體感。青花牽牛花紋折方瓶，兩側貼飾龍首雙耳，以高光強調瓷器晶瑩圓潤的質感，敷色極具光影效果。瓶內植插罕見並蒂連理的牡丹，象徵祥瑞吉兆，平安富貴之意。(20110102)
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網頁展示說明 |
The Italian missionary-artist Giuseppe Castiglione (Chinese name: Lang Shining) arrived in China in 1715 to do missionary work and was summoned to the court, where he came to serve in the Painting Academy. He brought the realistic techniques of European oil painting and one-point perspective with him to the court. Castiglione excelled at bird-and-flower subjects "sketched from life" and was especially renowned for his depictions of horses.
Giuseppe Castiglione fused traditional Chinese painting methods with Western techniques of perspective. Here he painted peonies with light and dark hues to express a sense of layering and volume. The leaves also turn and extend in space, the veins outlined with great realism to create an extremely rich and volumetric effect. The angular blue-and-white vase shown here is decorated with a morning glory pattern and features two dragon-head handles. Strong lighting emphasizes the shine and luster of the porcelain, the colors having a dramatic chiaroscuro effect of light and shade. Placed in the vase is a rare double-blossom branch of peonies, symbolizing auspicious fortune as well as peace and wealth. (20110102)
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網頁展示說明 |
イタリア人宣教師で畫家でもある郎世寧（ジュゼッペ・カスティリオーネ/Giuseppe Castiglione,1688-1766）は、康熙54年（1715）に伝教のために中國に渡った。その後、宮廷に召されて畫院に仕え、ヨーロッパの油絵の写実的技巧や一点透視法を宮廷に伝えた。花鳥の写生に優れ、馬の絵を得意とした。
郎世寧は中國伝統の畫法と西洋の透視法を融合させた。本作の牡丹を見ると、色彩の濃淡で花弁の重なりが表現され、葉は部分的に?返り、その葉脈は写実的な線で描かれており、立体感がある。朝顏の紋様がある青花の折方瓶には両脅に龍頭を象った耳があり、強い光線で磁器のつややかな質感が強調され、著色によって光と影が鮮明に表現されている。花瓶に生けてあるのは、珍しい「連理の枝」（別々の根から生えた2本の枝が癒著したもの）の牡丹である。吉兆を象徵するこの牡丹は平安富貴を意味している。 (20110102)
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參考書目 |
陳韻如，〈清郎世寧畫瓶花 軸〉，收入何傳馨主編《神筆丹青-郎世寧來華三百年特展》（臺北：國立故宮博物院，2015.10），頁28-29、406。
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