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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈三編（寧壽宮），第七冊，頁3468
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收藏著錄 |
故宮書畫錄（卷八），第四冊，頁125
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收藏著錄 |
故宮書畫圖錄，第十三冊，頁291-292
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內容簡介（中文） |
金廷標（十八世紀），字士揆，烏程（今浙江湖州）人。父金鴻，亦善畫，廷標幼承家學，工寫真，兼作白描人物、仕女、花卉、界畫等。清高宗二十五年（西元一七六○年）南巡時，進白描羅漢冊，稱旨，命入內廷供奉。
本幅畫鍾馗戴笠，背束梅花一捆，擷衣欲行經雪橋；後一人口銜梅枝，手撐破傘隨之。清代，鍾馗已晉身為五月花神，但仍有少數畫家，鍾愛描繪鍾馗於雪天探梅的雅興，聊以「借景抒懷」。金氏此作，當即欲藉助鍾進士訪梅的情境，隱喻畫中人孤高不群的內在性格。
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內容簡介（英文） |
Chin T’ing-piao (style name Shih-k’uei) was a native of Wu-ch’eng (modern Hu-chou, Chekiang). His father Chin Hung was also a gifted painter and Chin T’ing-piao learned from him as a youth. He excelled at portraiture and did such themes as ruled-lined subjects, flowers, ladies, and figures in outline manner. When the Ch’ien-lung emperor (r. 1736-1795) toured the south in 1760, Chin submitted an album of lohans in outline. The emperor was so impressed that he invited Chin to serve as a court painter.
Chung K’uei wears an official cap with a straw trim. Carrying a cluster of plum branches along a snow-laden path, he walks towards a small bridge. His servant behind holds a branch of blossoms in his mouth as he struggles to open the tattered umbrella. In the Ch’ing (1644-1911), Chung K’uei had already been transformed into a deity associated with the Double Fifth festival of early summer. However, some artists still showed Chung K’uei in the elegant pastime of searching for plum blossoms in snow, giving rise to their own feelings and aspirations. This work by Chin takes the subject of Chung K’uei looking for blossoms to extol the introverted nature of this lofty and eccentric figure.
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內容簡介（中文） |
金廷標（卒於一七六七年），字士揆，烏程（今浙江吳興）人。父金鴻亦善畫，廷標幼承家學。西元一七六○年高宗南巡時進白描羅漢冊，稱旨，入內廷供奉。
鍾馗畫可作為除歲迎新的節令畫。本幅鍾馗戴笠，背束梅花一捆，擷衣欲行經雪橋；後一人口銜梅枝，手撐破傘隨之。金氏此畫描繪鍾馗雪天探梅雅興，藉助訪梅情境，隱喻畫中人孤高不群的性格。
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內容簡介（英文） |
Chin T’ing-piao was native to Wu-ch’eng (modern Wu-hsing, Chekiang). His father, Chin Hung, also excelled at painting, and Chin T’ing-piao followed the family style. In the Ch’ien-lung Emperor’s Southern Tour of 1760, he submitted an album of lohans (Buddhist worthies) and was summoned and rewarded with a post as court painter. Chung K’uei paintings are also done to welcome the New Year. Here, Chung wears a straw cap and has a bundle of plum blossom branches on his back, gathering his clothes to cross a snow-covered bridge. Behind an attendant holds a plum branch in his mouth trying to open a tattered umbrella. The artist shows Chung in the literati theme of searching for plum blossoms, a metaphor for the lofty, individual scholar.
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參考書目 |
1.劉芳如，〈清金廷標鍾馗探梅〉，收入國立故宮博物院編輯委員會編，《迎歲集福 — 院藏鍾馗名畫特展》（臺北：國立故宮博物院，1997年二月初版一刷），頁156-157。
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