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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續編（重華宮），第四冊，頁1866
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁577
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收藏著錄 |
故宮書畫圖錄，第十四冊，頁55-56
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參考書目 |
1.王耀庭、陳韻如，〈清郎世寧畫魚藻〉，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90-91。
2.韓北新，〈郎世寧繪畫繫年(五)〉，《故宮文物月刊》，第71期（1989年2月），頁71-72。
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內容簡介（中文） |
郎世寧（一六八八－一七六六）意大利人。十九歲入天主教耶穌會為修士，習畫與建築。廿七歲來華傳教，召入內廷供奉。善畫人物花鳥，尤善畫馬。 本幅畫池中游魚。取材構圖純為中國式，但設色用筆卻以西洋畫法為之，光影的描寫在兩條大鯉魚的頭部尤為明顯，用白粉以表現受光處，也很成功。
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內容簡介（英文） |
Giuseppe Castiglione was an Italian who entered the Jesuit brotherhood at the age of nineteen. He studied both painting and architecture. He went to China as a missionary at the age of twenty-seven and served in the court of the Ch’ien-lung emperor as a painter in residence. A skilled painter of figures, flowers and birds, he was noted also for his paintings of horses. Here forms and composition are based largely on Chinese models, but brushwork and execution are western; a phenomena particularly evident in the head of the large carp. The use of lead-white pigment to suggest the glossy surface of the fish is especially skilled.
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內容簡介（中文） |
畫水中游魚的傳統早出現在宋代。但是與這類傳統魚藻圖不同，郎世寧所處理的魚藻圖，則因為加大了魚的尺寸，又在大魚下方描畫水面浮萍以及水中水草，形成視覺上的奇特效果，兩條大魚似乎漂浮在空中一般。從畫面周沿留有一些草葉紋樣的痕跡看來，此件作品或許原來是用在宮殿壁面的貼落畫，而後才又裝裱成掛軸形制。
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內容簡介（英文） |
The tradition of depicting fish swimming among plants in water goes back as far as the Sung dynasty (960-1279). However, here it differs from the rendering of aquatic plants and fish done by Giuseppe Castiglione. He enlarged the size of the fish and positioned the plants on the surface of the water as below the larger fish, creating an unusual visual effect that makes the two large fish appear to be floating in the air. Judging from some markings in the plant patterns near the edge of the painting, this work may have originally been glued to the surface of a palace wall and then later removed and remounted as a hanging scroll.
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