书体:

色彩:

设色

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅纸隔水一绫隔水二绫

释文:

　

印记资料:

鑑藏宝玺：五福五代堂古稀天子宝
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：避暑山庄
鑑藏宝玺：太上皇帝之宝
鑑藏宝玺：卍有同春
鑑藏宝玺：浴德
鑑藏宝玺：秀色入窗虚
鑑藏宝玺：写心（重一）
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宝笈三编
鑑藏宝玺：用笔在心
鑑藏宝玺：笔端造化
鑑藏宝玺：丛云
收传印记：宝蕴楼书画录
收传印记：□□（一印不全）

题跋资料:

主题:

主要主题：人物蕃族甘肃、四川等省边疆民族图像

技法:

工笔 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈三编（避暑山庄），第九册，页4501-4502 收藏着录： 故宫书画录（卷四），第二册，页279-284 收藏着录： 故宫书画图录，第二十一册，页133-174 内容简介（中文）： 谢遂，生卒年里不详，乾隆年间，供奉内廷，工画人物。 此卷为其所绘职贡图，分绘清朝统治下，本土以及四方藩属境内各民族，官吏、土司、酋长、人民、男、女、妇、孺之状貌。着色鲜丽，神情栩活。不惟令人欣赏其人物描绘之精工，尤堪供为民族风俗服饰考证之史料。又同样题材，除此绘画外，尚有皇清职贡图刊本。 内容简介（中文）： 此职贡图成于乾隆年间绘世界各国及国内各边疆民族官目、人民男妇状貌服饰，其标题西藏部份计有五图十人：（一）西藏所属卫、藏、阿里、喀木诸番民：关于卫、藏、阿里、喀木之位置请参看分说明「西藏」条。（二）西藏所属补噜克巴番人：补噜克巴即今之不丹。（三）西藏所属穆安巴番人：穆安巴在不丹以东之大旺提郎宗一带地区。（四）西藏巴埒卡穆等处番人：巴埒卡穆即今西康省之宁靖县。（五）西藏密尼雅克番人：密尼雅克在康定以西雅礲江流域。（按）：巴埒卡穆及密尼雅克在前清时属四川省管辖。 内容简介（英文）： Painted during the reign of the Ch’ing Ch’ien-lung emperor, this long handscroll depicts officials and commoners of both sexes from various countries of the world and border-areas of the Ch’ing empire in their native costumes. The Tibetan portion of this work comprises ten figures in five segments accompanied by explanatory notes and titles in Chinese and Manchu. From right to left, the titles are translated as follows: 1) “Natives of the Tibetan areas of Wei, Tsang, Ngari and Kham.” (For the locations of these placenames, see the explanatory card for Tibet in this exhibition) 2) “Brugpa natives of Tibet.” (The Tibetan name “Brugpa” or hBrug-Pa connotes an area in modern Bhutan) 3) “Monpa natives of Tibet.” (In Tibetan, Mon-pa is the name for the area around Tawang and Dirang east of Bhutan) 4) “Barkham natives of Tibet.” (This area, called Bar-Khams in Tibetan, is now Ning-ching county in the Chinese province of Hsikang) 5) “Miniak natives of Tibet.” (Called Mi-Nyag by the Tibetans, this area is located around the Yalung River west of K’ang-ting in modern Hsikang province.) (Note: During Ch’ing times, Barkham and Miniak were located in what was then Szechuan province.) 内容简介（英文）： Hsieh Sui was given an appointment at court during the Ch’ien-lung reign (1736-1795), though more precise dates for his life are lacking. He was a figure painter. In these handscrolls, whose subject is the presentation of tribute, are depicted all the officials, commissioners, chiefs, and men, women, and children of the various peoples that made up the Ch’ing empire. The vivid colours give great life to a scene which impresses one with the skill of its figure painting. In particular this work provides historical evidence of the costumes and customs of the various minority peoples of this period. Besides these four handscrolls there is the edition of the ‘Barbarian Dependancies Presenting Tribute to the Imperial Ch’ing Court’ printed from woodblocks. 研究性论着： 宋人史绳祖着《学斋佔毕》引李公麟语云：「梁元帝时，萧绎镇荆时作贡职图，状其形，而识其土俗，首虏而后蜑，凡三十馀国。」贡职图即职贡图，「职」即职方，是古代官名，职贡即职方贡物。《周礼˙夏官》有职方氏，掌天下地图，主四方职贡。我国历代以来，边疆民族及属邦与中央的关系，日益密切，职贡有图，方物有录，所谓职贡图，其实就是我国边疆民族及外邦属国的民俗图像。 国立故宫博物院典藏「职贡图」，乾隆年间谢遂绘制，共四卷，各卷纵约三三.九公分，横约一四一0˙四公分至一八三六˙一公分不等。第一卷共七十图，为西洋、外藩及朝贡属邦图像；第二卷共六十一图，为东北、福建、湖南、广东、广西等省边疆民族图像；第三卷共九十二图，为甘肃、四川等省边疆民族图像；第四卷共七十八图，为云南、贵州等省边疆民族图像，合计共三0一图，俱就沿边省分各督抚进呈图样，以地相次，分卷绘制增补而成，有汉、满文图说及题识。 「职贡图」是一套瑰丽的中外民俗画史，由于清朝政府积极促进边疆与内地的政治、经济、文化关系，各民族日益融合，奠定我国多民族的基础，「职贡图」的绘制充分反映了乾隆皇帝对东西洋各国、朝贡属邦的贸易政策，以及对边疆地区的民族政策。 (庄吉发)