| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈初編（重華宮），下冊，頁817
|
|
收藏著錄 |
故宮書畫錄（卷八），第四冊，頁135
|
|
收藏著錄 |
故宮書畫圖錄，第十四冊，頁365-366
|
|
內容簡介（中文） |
唐岱(1673－1752以後)是康熙(1662－1722在位)、乾隆(1736－1795在位)朝著名旗籍御用畫家，為王原祁(1642－1715)的弟子；沈源(約活動於1736－1795)與丁觀鵬(約活動於1737－1768)曾向郎世寧(1688－1766)學習西洋油畫與焦點透視技巧。據乾隆六年(1741)內務府《活計檔》所載畫院處畫畫人等次，孫祜、周鯤、丁觀鵬均列為一等。這些宮廷御用畫家除奉敕獨立創作，也經常在皇帝指派下與其他院畫家共同完成畫作。此張巨幅青綠金碧山水界畫，正是清初院畫「折衷中西，合作畫筆」的代表作。
圖上方有張若靄代書乾隆甲子(1744)春月「御製題新豐圖詩」。漢高祖為江蘇沛縣豐邑人，後定都長安，皇帝思念家鄉，改築長安城市街景，並移豐民居之，號曰新豐，在今陜西臨潼縣。圖中繪水域之際，前景為高低錯落亭台樓閣建築群，遠方城牆內房舍宅院密布。採立軸鳥瞰式構圖，處理景物以工筆界畫為基礎，參用西洋透視法，圖中不同造型建築群比例、細部描繪準確精緻，山水點景亦刻畫細膩。(林莉娜)
|
|
內容簡介（中文） |
漢高祖本豐人，後定都長安。太上皇思東歸，於是高組改築驪邑城市街道悉使如豐，並移豐民以實之，以娛上皇，故號曰新豐。依故事此圖應作城邑市街景，而殿宇巍然，彩繪妍麗，蓋應制之作，不得不繁縟工麗以增飾之。為唐岱、孫祜、沈源、周鯤、丁觀鵬等合作。
|
|
內容簡介（英文） |
New Feng
Court Painters
Ch’ing Dynasty (1644-1911)
Emperor Kao-tsu (r.206-1958B.C.) of the Han dynasty, was a native of Fang. Later he established his capital in Ch’ang-an. Because his father often thought of returning to his old home in the east, Kao-tsu renovated the architecture and streets of Ch’ang-an to resemble the old city of Feng. Further, he moved some of the people of Feng to the new capital to lend yet another note of authenticity. Consequently the renovated part of city was called New Feng. This painting ought to depict a vista of the streets renewed of Ch’ang-an. But since the scroll was painted at imperial request, the palace halls and other buildings are painted with overly ornate color. Court painters such as T’ang Tai, Sun Hu, Shen Yuan, Chou K’un and Ting Kuan-p’eng collaberated or the painting.
|
|
內容簡介（中文） |
漢高祖劉邦本沛縣豐邑人，稱帝後定都長安。太上皇久思東歸，於是高祖改築驪邑，市容布置悉使如豐，並移豐民以實之，以娛上皇，號曰新豐。此畫描繪新豐之城邑街景，但見遠山巍峨，群樹茂密，街道井然布列，殿宇宏偉聳立，人物舟車活動其間，呈現出一片熱鬧繁華景象。本幅由乾隆內廷畫師唐岱、孫祜、丁觀鵬、沈源等合作，色彩妍麗，繁縟精工，鳥瞰全景帶有西洋透視法影響，為典型之院畫。
|
|
內容簡介（英文） |
The Celebration of New Feng
T’ang Tai, Sun Hu, and Others
Ch’ing Dynasty (1644-1911)
Liu Pang, the founder of the Han, was a native of Feng. Becoming emperor, he established the capital at Ch’ang-an. His father, however, longed for his home. To make him happy, Liu had part of the capital changed to resemble Feng. He even had Feng residents moved there to make it more authentic, calling it “New Feng.” This work shows streets and trees within the city walls, beyond which lie misty forests and mountains. The city is clearly arranged with halls, figures, and boats making for a festive scene. This is a collaborative effort of court artists under the Ch’ien-lung Emperor. The color is opulent and the brushwork exact. The bird’s-eye view is accomplished in part through Western perspective, making this a typical court painting of the time.
|
|
內容簡介（中文） |
漢高祖劉邦本沛縣豐邑人，稱帝後定都長安。因父親久思東歸，於是高祖改築驪邑，市容佈置悉使如豐邑，並移來豐邑人民，號曰新豐。張若靄題寫的乾隆詩文即在記錄這個典故。根據題跋詩文看來，此畫表面上是在描繪新豐城景，但從圖繪的效果而言，由唐岱等宮廷畫家描繪而成，用色妍麗，建築物也充滿華麗效果，十足清宮院畫特質；而構圖則採鳥瞰全景的視角，更而流露出西洋透視效果。
|
|
內容簡介（英文） |
Emperor Kao-tsu (Liu Pang), the founder of the Han dynasty (206 BCE-220 CE), was originally a native of the city of Feng in P’ei-hsien. After he became emperor, he moved his capital to Ch’ang-an. His father, however, longed to return east to his hometown. To please his father, Kao-tsu had the city reconstructed near the capital, even having its inhabitants moved there, thus forming the New City of Feng, or New Feng. Chang Juo-ai (1713-1746) transcribed the poetry of the Ch’ien-lung Emperor (r. 1736-1795) to record this story. Judging from the contents of the inscription, this painting on the surface depicts the city of New Feng. However, in terms of presentation, the Ch’ing court painters T’ang Tai and others updated the rendering to give it a more contemporary and opulent effect that reflects much of the features of the Ch’ing court. The composition also incorporates a bird’s-eye view that reveals the use of Western methods of perspective.
|
|
參考書目 |
1.王耀庭、陳韻如，〈清唐岱、孫祜、沈源、周鯤、丁觀鵬等畫院本新豐圖〉，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126-127。
2.李霖燦，〈新豐圖和新豐父老圖〉，《故宮文物月刊》，第17期（1984年8月），頁105-109。
3.林莉娜，〈「天子之寶 — 台北國立故宮博物院的收藏」展品系列(四) — 繪畫〉，《故宮文物月刊》，第247期（2003年10月），頁53。
|
|
參考書目 |
何傳馨，〈清唐岱孫祐沈源周鯤丁觀鵬等畫院本新豐圖 軸〉，收入《十全乾隆─清高宗的藝術品味》（臺北：國立故宮博物院，2013.10），頁276-277。
|
推薦
