| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈三編（寧壽宮），第七冊，頁3461
|
|
收藏著錄 |
故宮書畫錄（卷八），第四冊，頁50
|
|
收藏著錄 |
故宮書畫圖錄，第二十一冊，頁55-60
|
|
內容簡介（中文） |
丁觀鵬，順天（今北京）人。他於雍正四年（一七二六）進入宮廷供職，頗受乾隆皇帝的器重，列為一等畫畫人。本卷雖說是摹本，與原卷比較，相同者是圖隨賦文的段落、人物神怪的造型與相關位置。然而，青綠山水畫法，又用泥金勾勒，不但顯示成熟的金碧山水畫法，樹木的造形與筆調，乃至於設色，已經是明代中期吳派畫風。丁觀鵬在當時受到西洋繪畫的影響，本卷中採取光影與透視法即是。
|
|
內容簡介（英文） |
Ting Kuan-p'eng, a native of Peking, entered service as a court painter in 1726 and was admired by the Ch'ien-lung Emperor, being praised as “The Painter Among Painters.” Although this handscroll is labeled a copy, only the arrangement of image and text as well as forms and positions of the figures are similar to the original. The technique of the blue-and-green landscape painting and the use of gold for outlining reflect a mature gold-and-green landscape style post-dating the original. The forms and brushwork of the trees, as well as the coloring, also already reflect the Wu School style from the middle of the Ming (1368-1644). Ting Kuan-p'eng was influenced by Western styles, as seen here in the use of shading and perspective.
|
|
參考書目 |
1.王耀庭，〈清丁觀鵬摹顧愷之洛神圖 卷〉，收入國立故宮博物院編輯委員會主編《文學名著與美術特展》（臺北：國立故宮博物院，2001.10），頁90、167-168。
2.林莉娜，〈丁觀鵬摹顧愷之洛神圖〉，收入馮明珠主編，《乾隆皇帝的文化事業》（臺北：國立故宮博物院，2002年初版一刷），頁116。
3.林莉娜，〈乾隆皇帝的文化大業 清丁觀鵬摹顧愷之洛神圖〉，《故宮文物月刊》，第236期（2002年11月），頁12。
4.陳葆真，〈傳世〈洛神賦〉故事畫的表現類型與風格系譜〉，《故宮學術季刊》，第二十三卷第一期（2005年秋），頁175-223。
5.石守謙，〈洛神賦圖：一個傳統的形塑與發展 〉，《國立臺灣大學美術史研究集刊》，第23期(2007)，頁51-80。
6.鄭淑方，〈西風迴雪 長吟永慕—從丁觀鵬〈摹顧愷之洛神圖〉看經典圖式的創新〉，《故宮文物月刊》，第346期（2012年01月），頁4-18。
|
|
網頁展示說明 |
丁觀鵬（活動於1726-1770），順天（今北京）人。雍正四年（1726）任職畫院，工人物，擅道釋像，山水界畫工整細緻，曾從郎世寧學畫，深受西法影響，乾隆六年（1741）擢升為「一等畫畫人」。《清史稿》云：「畫院盛於康、乾兩朝，以唐岱、郎世寧、張宗蒼、金廷標、丁觀鵬為最。」乾隆帝評丁觀鵬「善臨摹，兼工設色」。〈摹顧愷之洛神圖〉卷，即丁觀鵬臨摹內府所藏古畫的代表性佳作。
〈洛神圖〉是以曹植（192-232）著名的愛情詩篇〈洛神賦〉為題材所創作的繪畫作品。賦文內容描寫黃初三年（222），曹植覲見魏文帝後，自洛陽啟程，東歸封地鄄城，途經洛水之時，邂逅洛水女神宓妃並與之相戀，互傾愛慕之情，惟人神道殊、終致別離。本幅依情節發展擘畫場景如下：休憩、驚豔、嬉戲（採芝、桂旗）、眾靈（戲流、翔渚、湘妃、游女）、徬徨、備駕（屏翳、川后、馮夷、女媧）、離去、悵歸（泛舟、夜坐、東歸）；經比對敘事結構與景物關係，丁觀鵬奉敕臨摹的稿本應是北京故宮所藏〈傳顧愷之洛神圖〉卷。丁觀鵬此卷雖是摹本，然山水造型已自樸拙稚趣的古典畫樣，轉為成熟的金碧山水，且景物間的比例關係已趨精確；援以西洋明暗設色法與定點透視法，表現臉部五官、馬匹體態與空間層次，營造合乎視覺經驗的畫面。
歷代以〈洛神賦〉為文本的畫作不計其數，清宮畫院初試西法，以鮮明的時代性格，賦予摹本新意，乾隆御題讚：「見說後生畏，誰云前藝空。」以古典圖式與傳統母題，融合西方畫技，正是清宮「摹古創新」的最佳範例。
(20120101)
|
|
網頁展示說明 |
Ding Guanpeng (fl. 1726-1770), a native of Shuntian (modern Beijing), entered service in the Painting Academy at the Qing dynasty court under the Yongzheng Emperor in 1726. He excelled at figure painting and specialized in Buddhist and Taoist subjects, his landscapes with ruled-line motifs being orderly and meticulous. He once studied painting under the Italian Jesuit Giuseppe Castiglione (Lang Shining) and was strongly influenced by Western methods. In 1741, under the Qianlong Emperor, he was promoted to "Painter of the First Rank." Draft of the Qing History also states, "The Painting Academy flourished in the Kangxi and Qianlong reigns, the best painters being Tang Dai, Lang Shining, Zhang Zongcang, Jin Tingbiao, and Ding Guanpeng." The Qianlong Emperor also offered a critique of Ding as follows: "Ding Guanpeng excelled at copying and was also good at coloring." And an excellent example representative of Ding Guanpeng's work on display here is "Copy of Gu Kaizhi's "Nymph of the Luo River,'" an imitation done after an ancient painting in the court collection.
"Nymph of the Luo River" is a painting that illustrates subject matter from the famous love poem by Cao Zhi (192-232) entitled "Ode to the Nymph of the Luo River." The contents of the ode tell how Cao Zhi in 222, after having an audience with Emperor Wendi of the Wei, embarked on a journey from Luoyang heading east to his fiefdom of Juancheng. Along the way on the Luo River, he chanced upon a spirit lady by the name of Concubine Mi, Nymph of the Luo River, and fell in love with her. Despite their mutual affection, a relationship transcending the human and spirit realms was doomed, and they eventually had to part ways. This painting is divided into scenery according to sections in the ode: (E1--20120101)
|
|
網頁展示說明 |
"Stopping to Rest," "Startling the Beauty," "Enjoyments" ("Picking Fungi," "Cassia Pennants"), "Multitude of Spirits" ("Enjoying the Current," "Soaring over Banks," "Xiang Concubines," "River Maiden"), "The Hesitation," "Preparing the Carriage" ("Wind Deity Pingyi," "River Empress Chuanhou," "River Deity Fengyi," "Goddess Nuwa"), "The Departure," and "The Sorrowful Return" ("On a Boat," "Sitting at Night," "Heading East"). Comparisons in terms of narrative structure and the relationship between figures and the landscape indicate that the original upon which Ding Guanpeng based this copy is most likely "Nymph of the Luo River" attributed to Gu Kaizhi (now in the Palace Museum, Beijing). Although this handscroll is purportedly a copy by Ding, the landscape forms are transformed from the simple archaism of ancient classical painting to a full-blown "blue-and-green" landscape with the proportional relationship between the figures and landscape motifs refined to become more accurate. Ding Guanpeng, with his training in Western methods of chiaroscuro and coloring as well as one-point perspective, rendered the facial features, bodies of the horses, and spatial layering to accord more closely with actual visual experience.
Innumerable paintings based on the text in "Nymph of the Luo River" have been done over the ages. Here, the Painting Academy at the Qing court conducted a preliminary test of Western methods, using its bright period style to endow this copy with new meaning. In this regard, the Qianlong Emperor wrote the following words of praise: "It is said the younger generation surpasses the older, thus someone says it is because their achievements are based on the past." The combination of a classical mode of representation and traditional motifs with Western painting techniques makes this painting one of the best examples of the Qing court's effort at "modeling upon the ancients to create something new."
(E2-20120101)
|
|
網頁展示說明 |
丁観鵬（1726-1770に活動）、順天（現在の北京）の人。雍正4年（1726）に畫院に奉職、人物畫に優れ、道教･仏畫を得意とし、その山水界畫は精巧細緻なものでした。また、カスティリオーネ（郎世寧）に師事したことから、西洋畫法の影響を強く受け、乾隆6年（1741）には「一等畫畫人」に抜擢されました。『清史稿』には、以下のような記述があります。「畫院は康熙、乾隆両朝の時代に栄えた。唐岱、郎世寧、張宗蒼、金廷標、丁観鵬がその最高峰である。」また、乾隆帝は丁観鵬について、「臨模を善くし、著色畫にも優れている。」と評したといいます。この度の展覽会では、「摹顧愷之洛神図」を展示いたします。この作品は丁観鵬が臨模した宮廷所蔵の古畫を代表する佳作です。
「洛神図」は、曹植（192-232）の愛情を詠った著名な詩文「洛神賦」を題材にした絵畫作品です。「洛神賦」の內容はおおよそ以下のようなものです。黃初3年（222）に曹植が魏文帝に朝見した後、洛陽から東の領地鄄城に帰る途中で、洛水（川）を渡っている時に洛水の女神宓妃に出会って恋に落ち、互いに思いを寄せるようになりましたが、住む世界の異なる二人は、結局別れ別れになってしまいました。「洛陽図」は物語の各場面ごとに分けて描かれています。休憩、驚豔、嬉戲(採芝、桂旗)、眾靈 (戲流、翔渚、湘妃、游女)、徬徨、備駕(屏翳、川后、馮夷、女媧)、離去、悵帰(泛舟、夜坐、東帰)─これら物語の流れと景物の關わりを比べた結果、丁観鵬が臨模した原本は北京故宮博物院所蔵の「伝顧愷之洛神図」だと考えられます。(J1-20120101)
|
|
網頁展示說明 |
丁観鵬による本作は模本とはいえ、山水の描き方が素朴で愛らしい畫風から、成熟した金碧山水へと変化しているのが見て取れる上、景物間の比率も精確なものになりつつあります。また、西洋の陰影法と一点透視法によって、人物の顏のつくりや馬の身体つき、空間の奧行きが表現されており、実際に目で見た場面と同じように描かれています。
これまで「洛神賦」を主題に描かれた絵畫は數え切れないほどありますが、本作は清宮廷畫院が初めて西洋畫法を試みたという点で時代的な性格が強く、模本に新たな意味が付与されています。乾隆帝は御題で「後世畏るべし。前人の畫芸を繼ぐ者はいないなどと誰が言ったのだろう。」と讚えています。本作は古典的な絵畫様式と伝統的なモチーフに西洋畫法を融合させた、清宮廷による「古典の模倣からの新たな創造」─その最良の範例だと言えるでしょう。
(J2-20120101)
|
推薦
