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：养心殿鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：宣文阁宝
收传印记：殿宝（半印）
收传印记：蕉林
收传印记：观其大略
收传印记：蕉林收藏

题跋资料:

主题:

主要主题：走兽猿 主要主题：树木 檞树

技法:

双钩 

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页667 收藏着录： 故宫书画录（卷五），第三册，页148 收藏着录： 故宫书画图录，第三册，页113-114 参考书目： 1.王耀庭，〈宋人枇杷猿戏图〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页162-163。2.王耀庭，〈国之重宝 — 书画精萃特展〉，《故宫文物月刊》，第19期（1984年10月），页24-25。3.王耀庭，〈宋人枇杷猿戏图〉，《故宫文物月刊》，第100期（1991年7月），页80。4.张华芝，〈宋人枇杷猿戏图〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页278。 内容简介（中文）： 老树擎空，突出画幅，其枝垂挂，复返画中。画幅中的枝干，笔不连而意连，足见画家布局之匠心。一猿攀枝摇荡，如戏秋千。一猿则踞干悠閒旁观，真能得猿猴动息之情。画技精湛，特善用墨，曲尽黑猿毛色之状，树石描绘精采、用色雅正，尤有过人处，是宋无款作品中之巨幅精品。易元吉的猴猫图突显毫芒毕现的用笔功夫，本画则用墨功夫一流。 内容简介（中文）： 从画面上来看，枇杷树的枝干上下各一段，并未相接，观赏时却有着相连的感觉，这种画外之意，正是作者别出心裁的安排。而其沈着的用色、劲健的用笔则将树干的扭曲斑剥、树叶的转折、石头的坚硬和猿身黝黑的绒毛表现得栩栩如生，像可以触摸一般。然只生动地画出物象的形貌仍不够，必须掌握其情态，方算传神，因此画中黑猿，挂在枝干上的一只，手尾紧握，好似在荡秋千一般，另一只则悠閒地坐在树干上，和牠相互凝望，情意相系。 内容简介（英文）： An old loquat tree rises from the bottom of the painting, its branches projecting outward at the right and left, then re-entering at the top of the composition. The brushwork for the tree, though interrupted, amply conveys the form, thus showing the artist's skill at composition design. Two gibbons—one sitting quietly on the twisting trunk, the other suspended from a slender branch—appear in the open space at the center of the composition. The slender branch, pulled downward by the gibbon, seems to possess a recoil force, the kind a swing possesses when swung back and forth by children. The seated monkey idly watches its companion at play. The rendering of the tree and rocks is also convincing with elegant colors, making this a masterpiece of the finest anonymous Sung works. I Yüan-chi was noted for his controlled and delicate brushwok, while this painting is first-rate in the use of ink. 网页展示说明 老树擎空，突出画幅，其枝垂挂，复返画中。画幅中的枝干，笔不连而意连，足见画家布局之匠心。画中一猿攀枝摇荡；一猿则踞干慵坐，四目凝望，情意相系，得猿猴动息之情。画者特善用墨，曲尽黑猿绒毛之状，深达写物之理趣，堪为宋代大幅猿画之精品。学界据此推论，是轴出自易元吉﹙约活动于11世纪后半﹚之手。易元吉，湖南长沙人，为北宋画猿圣手，米芾讚其「徐熙后一人而已」。(20110913) 网页展示说明 An old tree arcs through the space, reaching out of the painting, into the upper left, and then back down through the top. The trunk and branches in the work are done with strokes that are not connected but appear to be so, reflecting the ingenuity of the painter in terms of the arrangement. One of the two gibbons swings from a branch, while the other sits quietly on the trunk, their eyes meeting each other’s for a sense of emotional bonding, capturing both the motion and spirit of these primates. The artist was particularly gifted at the use of ink in capturing the gibbons’ black fur with precision via a deep understanding of the subject’s nature. For this reason, the painting stands as a large and important masterpiece of Song dynasty gibbon painting. Scholars have thus suggested that it comes from the hand of Yi Yuanji (fl. ca. 2nd half of 11th c.). Yi Yuanji, a native of Changsha in Hunan, was the greatest master of gibbon painting in the Northern Song, with Mi Fu praising him as “the one and only after Xu Xi.”(20110913)