【作品基本信息】
| 作者 | 郎世宁 |
| 品名 | 画白猿图轴 |
| 朝代 | 清代 |
| 文件大小 | 18.05MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 1939×3103 |
| 尺寸（CM） | 16.41×26.27 |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 绘画 |
| 品名 |
清郎世宁画白猿 轴 White Gibbon |
| 分类 | 绘画 |
| 作者 | 郎世宁;Lang Shining;Giuseppe Castiglione |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 151.2×91.9 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 绢 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 作者款识 | 郎世宁 | 本幅 | 臣郎世宁恭绘 | 楷书 | |
|
印记： 臣郎世宁 |
|||||
印记资料
| 【印记类别】 | 【印记】 |
| 鉴藏宝玺 | 乾隆御览之宝 |
| 鉴藏宝玺 | 嘉庆御览之宝 |
| 鉴藏宝玺 | 乾隆鉴赏 |
| 鉴藏宝玺 | 石渠宝笈 |
| 鉴藏宝玺 | 三希堂精鉴玺 |
| 鉴藏宝玺 | 宜子孙 |
| 鉴藏宝玺 | 石渠定鉴 |
| 鉴藏宝玺 | 宝笈重编 |
| 鉴藏宝玺 | 重华宫鉴藏宝 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 主要主题 | 树木 | 柏 | |
| 主要主题 | 走兽 | 猿 | 白猿 |
| 其他主题 | 树木 | 枫树．槭树 | 枫树 |
| 次要主题 | 花草 | 藤萝 |
技法
| 【技法】 | 【技法细目】 |
| 工笔 | |
| 皴法 | 披麻皴 |
| 苔点 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 石渠宝笈续编（重华宫），第四册，页1864 |
| 收藏着录 | 故宫书画录（卷五），第三册，页573 |
| 收藏着录 | 故宫书画图录，第十四册，页41-42 |
| 内容简介（中文） |
郎世宁（公元一六八八－一七六六年），意大利人。十九岁进入天主教耶稣会为修士，习画与建筑。二十七岁至中国，历任康熙、雍正、乾隆三朝内廷画官。擅长人物、犬马、花鸟。尤以犬马闻名。 翠柏丹枫根下坐一白猿。一手抚脚。一手搔痒。悠悠闲暇。不仅画出猿之形态，且兼得猿之性情。 |
| 内容简介（英文） |
Giuseppe Castiglione (Chinese name Lang Shih-ning) was a native of Italy. At the age of 19, he entered the Jesuit order as a novitiate. In addition to his religious training, he also studied painting and architecture. In 1715, he was sent to China, where he would spend the rest of his life as a painter in the Inner Court. He was a skilled painter of figures, flowers-and birds, and especially horses and dogs. In this painting, a white gibbon sits on the root of a cedar and next to red maple saplings. With one hand rest on its knee, the other scratches an itch in leisurely contemplation. The artist has not only succeeded at capturing the appearance of the gibbon, but also its disposition. |
| 内容简介（中文） |
朗世宁（公元一六八八－一七六六年），意大利人，十九岁时，入主天主教耶稣会为修士。二十七岁来华传教，以绘事供奉内廷。历仕康熙、雍正、乾隆三朝。画法参酌中西。 朗世宁以明显的光影烘托画出白猿柔软细密的毛发及其生动的搔痒姿态。虽然没有题款指出此白猿的来源，但经过专家比对，此猿可能是产于云南、缅甸、印度尼西亚、马来西亚、泰国等区域的白手长臂猿。 |
| 内容简介（英文） |
Lang Shih-ning was an Italian who at the age of 19 became a novitiate of the Jesuit Catholic order. At 27, he arrived in China as a missionary. With an art background, he also painted for the court under the K’ang-hsi, Yung-cheng, and Ch’ien-lung emperors. His style fuses Chinese and Western techniques Castiglione has used obvious shadows here to set off the fine and soft fur of this white gibbon and to render its lively scratching pose. Though there is no inscription indicating the origin of this gibbon, the precise rendering of details suggests that it actually existed that was painted from life. Experts have indicated that this gibbon is indigenous to the area of Yunnan, Myammar, Indonesia, Malaysia, and Thailand. |
| 内容简介（中文） | 郎世宁存世作品多为皇家人物画像与动物图像。动物如骏马、骏犬、鹰等多为各方进贡之物，此件白猿仅有款识「臣郎世宁恭绘」。画中白猿蹲坐地上，左手抓弄着毛皮，毛色的描绘十分精致，眼睛部份反光的描写更具有三维效果，整个面容散发出一股观察观者的神情，似乎具有相当灵性。此画为郎世宁款，但树石具有中国传统画风，显非出自郎世宁之手。 |
| 内容简介（英文） | Many of the surviving paintings by Giuseppe Castiglione are figures and animals related to the Ch’ing imperial court. The animals mainly include steeds, hounds, and falcons that had been presented to the court as tribute. This painting of a white gibbon bears a short signature by Castiglione using his Chinese name and reads, “Reverently painted by Your Servant, Lang Shih-ning.” The white gibbon is shown sitting on the ground and scratching itself with its left hand. The rendering of the fur is done with great finesse, and the reflections in its eyes reveal a strong sense of volume. In fact, the gibbon’s face seems to suggest that it was aware of being observed by the viewer, as if indicating a degree of psychological presence by the subject. Although this work is signed only by Castiglione, the tree and landscape elements are done in traditional Chinese styles that suggest the hand of another artist. |
| 参考书目 | 刘宇珍，〈清郎世宁画白猿 轴〉，收入何传馨主编《神笔丹青-郎世宁来华三百年特展》（台北：国立故宫博物院，2015.10），页204-207、410。 |
【作品展示】
清郎世宁画白猿轴
