书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
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：乾隆御赏之宝
鑑藏宝玺：重华宫鑑藏宝
鑑藏宝玺：乐善堂图书记
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：缉熙殿宝

题跋资料:

题跋类别：题跋；作者：宋徽宗；题跋位置：本幅；款识：无；书体：楷书；全文：唐韩干笔。印记：御书

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：辛巳春日御题；书体：行书；全文：（乾隆辛巳御题。诗文不录。）印记：干、隆

主题:

主要主题：走兽马二匹；次要主题：走兽猿三只；其他主题：山水奇石 ；其他主题：树木寒林．枯树枯树；其他主题：树木竹 ；其他主题：树木  

技法:

工笔 双钩 皴法 

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页792 收藏着录： 故宫书画录（卷五），第三册，页7 收藏着录： 故宫书画图录，第一册，页21-22 参考书目： 1.林柏亭、张华芝，〈唐韩干猿马图〉，收入林柏亭、张华芝编，《画马名品特展图录》（台北：国立故宫博物院，1990年元月初版），页81-82。 内容简介（中文）： 此幅绘竹石树林，三猿戏于枝间石上，其下绘黑白双骏，作徐行之状。无款，旧题韩干作，但徽宗题字和「御书」一玺，及理宗「缉熙殿宝」玺皆存疑，故当为后人仿作。韩干，大梁人（河南开封），亦有作长安或蓝田人。天宝（七四二－七五五）初，召入宫中为供奉。曾师曹霸，以画马而得名，唐张彦远极为推崇之。 内容简介（中文）： 本幅无款，旧题唐代韩干作。韩干，大梁人（河南开封），亦有作长安或蓝田人。天宝（七四二－七五五）召入宫中为供奉。曾师曹霸，以画马而得名，唐张彦远极为推崇之。此幅绘竹石树林，三猿戏于枝间石上，其下绘黑白双骏。画上宋徽宗题字和「御书」一玺，及理宗「缉熙殿宝」玺皆伪，当为后加。然画中不论猿、马、树石、枝叶，皆描绘细腻，或为南宋作品。 内容简介（英文）： With no seal or signature of the artist, this work was attributed to Han Kan. A native of Ta-liang (modern K’ai-feng, Honan), he is also said to be from Ch’ang-an or Lan-t’ien. Called to court in the T’ien-pao era (742-755), he studied under Ts’ao Pa and was famous for painting horses, being admired by the T’ang critic Chang Yen-yüan. In this work of bamboo, rocks, and trees are 3 gibbons among branches and on a rock. Below are a black and a white steed leisurely trotting. The inscription and yü-shu (“imperial work”) seal of the Sung emperor Hui-tsung and “Treasure of the Ch’i-hsi Hall” seal of the Sung emperor Li-tsung are spurious and later additions. All the motifs are finely rendered, though, suggesting a Southern Sung (1127-1279) date. 内容简介（英文）： In the upper part of this picture are three gibbons-one plays on a large rock and two are among tree branches. Under the tree, two horses canter side-by-side. Though the painting has neither seal nor signature of the artist, it has been traditionally attributed to Han Kan. The Hui-tsung (r. 1101-1125) inscription and Yü-shu ("Imperially-written") seal, as well as the Ch'i-hsi-tien pao ("Treasure of the Ch'i-hsi Hall") seal of Li-tsung (r.1225-1264), also seem suspicious, suggesting that this painting was probably done by a later painter. Han Kan was a native of Ta-liang (K'ai-feng, Honan), though some records indicate that he came from Ch’ang-an or Lan-t'ien, Shensi. He entered court service in the early T'ien-pao era (742-755) as a painter and studied under Ts’ao Pa, a famous painter of horses. He, too, became famous for painting horses. His works were highly admired by Chang Yen-yüan (ca. 815-after 875), the T'ang connoisseur and critic.