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【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁175-176
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收藏著錄 |
故宮書畫圖錄，第四冊，頁23-24
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參考書目 |
1.胡賽蘭，〈元劉貫道畫元世祖出獵圖〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁174-175。
2.劉芳如，〈劉貫道畫元世祖出獵圖〉，收入石守謙、葛婉章主編，《大汗的世紀:蒙元時代的多元文化與藝術》（臺北：國立故宮博物院，2001年初版），頁288-289。
3.賴毓芝，〈畫元世祖出獵圖〉，收入林柏亭主編，《國寶菁華 — 書畫‧圖書文獻篇》（臺北：國立故宮博物院，2006年12月），頁205。
4.林柏亭、張華芝，〈元劉貫道元世祖出獵圖〉，收入林柏亭、張華芝編，《畫馬名品特展圖錄》（臺北：國立故宮博物院，1990年元月初版），頁91。
5.簡松村，〈弓勁馬強 大漠較獵 — 元世祖出獵圖〉，《故宮文物月刊》，第82期（1990年1月），頁4-11。
6.劉芳如，〈大汗的世紀 劉貫道畫元世祖出獵圖〉，《故宮文物月刊》，第223期（2001年10月），頁11-12。
7.徐文琴，〈風格、時代與意念 — 南宋文姬歸漢圖的研究〉，《中華民國建國八十年中國藝術文物討論會論文集 書畫(上)》（臺北：國立故宮博物院，1992），頁163-194。
8.劉芳如，〈元劉貫道畫元世祖出獵圖〉，收入蔡玫芬主編，《精彩一百 國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁298。
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內容簡介（中文） |
劉貫道（西元十三世紀），中山（河北定縣）人。字仲賢。所畫道釋人物，悉宗法晉唐，山水宗郭熙，花竹鳥獸亦能集諸家之長。 無垠朔漠，黃沙浩瀚。人騎眾多，中騎黑馬著白袍者即世祖。人物描繪精謹細緻，犬馬駱駝，亦悉得情態。款書：「至元十七年（一二八○）二月御衣局使臣劉貫道恭畫。」
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內容簡介（英文） |
Liu Kuan-tao (style name Chung-hsien) was a native of Chung-shan (Ting-hsien, Hopeh province). A celebrated court painter of the early Yuan, his figure paintings were in the style of the Chin and T’ang masters, while his landscapes followed that of Kuo Hsi (fl. 11th c.). His bird-and-flower paintings imitated those of the old masters. Dressed in white fur coat on a black horse, Kublai Khan appears here with his consort, officials, and attendants against the backdrop of a vast steppe scene with a camel train in the background. A figure is about to shoot down a bird high in the sky above. The vividness and realism of figures are quite impressive. The artist’s signature and the date (1280) appear in the lower left.
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網頁展示說明 |
劉貫道(約活動於十三世紀後半期)，生卒年不詳，大概在元世祖至元年間(一二六四-一二九四)在世。河北人，字仲賢，善畫。至元十六年稱旨，補御衣局使。所畫道釋、人物，全宗法晉、唐。畫山水宗李成、郭熙，佳處逼真。花竹鳥獸，亦能集合諸家之長，成為當時畫壇的高手。 此畫作於西元一二八０年，屬於大幅作品，畫北方沙漠地帶，一片黃沙坡地，景色單調。在沙丘無垠的遠方，正有一列駱駝馱隊橫越。近處人騎數眾，或張弓射雁；或手架獵鷹；或繩攜獵豹，皆為馬上行獵之狀。其中騎著黑馬、身穿白裘的，應為元世祖，與世祖並駕的婦女，似為帝后，其餘八人，應是侍從，其中尚有黑奴二名。圖中人物、馬騎無論衣著、裝備皆刻畫精細，表情神態自然生動，而世祖的面容，更與本院所藏<元歷代帝后像>冊中的元世祖半身像相似，足證兩圖的寫實。雖然劉貫道的畫作傳世甚少，但由此軸中人物的傳神，可明劉氏善畫的美名，非憑空得來。
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網頁展示說明 |
Liu Kuan-tao, a native of Hopeh province, was a celebrated court painter of the early Yuan. His figure paintings were in the style of the early Chin and T'ang masters, while his landscapes followed the styles of Li Ch'eng and Kuo Hsi. His animal and bird-and-flower paintings combined the virtues of the old masters to become famous at the time. Appearing against a backdrop of northern steppes and desert is a scene of figures on horseback. The one sitting on a dark horse and wearing a white coat is most likely the famous Mongol emperor Kublai Khan with his empress next to him. They are accompanied by a host of servants and officials; the one to the left is about to shoot an arrow at one of the geese in the sky above. The figure wearing blue has a hawk famous for its hunting skills, and a trained wild-cat sits on the back of the horse in front. The dark-skinned figures are perhaps from somewhere in the Near East or Central Asia. In the background, a camel train proceeds slowly behind a sandy slope, adding a touch of life to the barren scenery. Every aspect of this work has been rendered with exceptional detail. Appearing quite realistic, even the representation of Kublai Khan in this painting corresponds quite closely to his imperial portrait in the Museum collection. Though few of Liu Kuan-tao's paintings have survived, this work serves as testimony to his fame in Yuan court art. The artist's signature and the date (1280) appear in the lower left.
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網頁展示說明 |
劉貫道（約活動於13世紀後半），字仲賢，中山（今河北定縣）人。至元十六年（1279）因善畫稱旨，獲頒御衣局使。
本幅畫元世祖忽必烈偕同皇后徹伯爾及一行隨從，於黃沙浩瀚的荒漠中馳騁行獵。人物的衣著和馬騎的裝備都描繪得極為精謹細膩；世祖容貌亦與本院所藏的〈元世祖半身像〉絕似。劉氏傳世作品鮮少，此作署有明確紀年及名款，是元代宮廷鞍馬人物畫中的難得精品。
(20110913)
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網頁展示說明 |
Liu Guandao (style name Zhongxian) was a native of Zhongshan (modern Dingxian, Hebei). Singled out for his excellence in painting in 1279, he was appointed as Commissioner of the Imperial Wardrobe Service.
This painting shows the Yuan dynasty emperor Shizu, better known as Khubilai Khan, accompanied by his empress, Chabi, on an outing as they take a hunting trip on horseback to vast and expansive barrens. The clothes of the figures and the paraphernalia for the horses are all depicted with exceptional precision and refinement. The visage of Khubilai Khan is also extremely close to his appearance in “Bust Portrait of Shizu of the Yuan” in the National Palace Museum collection. Very few works by Liu Guandao survived, and this one with his signature and date makes it a rare masterpiece of court painting of saddled horses and figures from the Yuan dynasty.
(20110913)
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參考書目 |
陳韻如，〈元劉貫道畫元世祖出獵圖 軸〉，收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》（臺北：國立故宮博物院，2016.10），頁158-159、284-285。
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參考書目 |
國立故宮博物院編輯委員會，〈元劉貫道畫元世祖出獵圖 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁174-175。
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