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：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

题跋资料:

题跋类别：作者款识；作者：郎世宁；题跋位置：本幅；款识：臣郎世宁恭画；书体：楷书；全文： 印记：臣世宁、恭画

主题:

主要主题：花草牡丹 主要主题：器用花器花瓶；其他主题：器用 瓶座

技法:

工笔 双钩 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2473 收藏着录： 故宫书画录（卷五），第三册，页578 收藏着录： 故宫书画图录，第十四册，页57-58 参考书目： 1.王耀庭、陈韵如，〈清郎世宁画瓶花〉，收入王耀庭主编，《新视界 : 郎世宁与清宫西洋风》（台北：国立故宫博物院，2007年初版），页68-69。2.〈清郎世宁画瓶花〉，收入国立故宫博物院编辑委员会编，《牡丹名画特展图录》（台北：国立故宫博物院，1987年四月初版），页47。3.韩北新，〈郎世宁绘画系年(六)〉，《故宫文物月刊》，第72期（1989年3月），页53。4.〈清　郎世宁　画瓶花〉，收入谭怡令、刘芳如、林莉娜主编，《满庭芳　历代花卉名品特展》（台北：国立故宫博物院，2010年十二月初版一刷），页222。 内容简介（中文）： 郎世宁（西元一六八八－一七六六年），意大利人。十九岁入天主教耶稣会为修士，习画与建筑。二十七岁来华传教，召入内廷供奉。善画人物花鸟，尤善画马。设色画青花瓷瓶，内供并蒂牡丹。郎世宁作画，往往于中国传统画法，加入西洋光影透视法，故所作皆色彩秾艳，形象逼肖，此幅亦不例外。 内容简介（中文）： 青花瓷瓶中插有并蒂牡丹一枝，此画没有纪年，但从郎世宁的宋体款题推测，应属雍正年间的作品。对于牡丹花卉的描写，与〈聚瑞图〉同样不强调轮廓勾勒，敷用色彩的手法也十分相近。加上对于光影的处理，乃至于对于瓷器釉光的掌握等，都显示着相同年代的特质。画中瓷瓶为两兽耳，花纹为牵牛花，与院藏〈明青花牵牛花折方瓶〉十分相似。 内容简介（英文）： This painting depicts an underglaze blue vase with a twin stalk of peony blossoms. The work is undated, but the Sung-script style of Castiglione’s signature probably dates it from the Yung-cheng reign (1723-1735). The description of the peony blossoms is similar to that found in the lotuses of Castiglione’s “Assembled Auspiciousness” on display here, in which much less emphasis is placed on the outlines of the forms. The two works are also very similar in terms of the techniques of color usage. Combined with the treatment of shadows, in which even the luster of the glaze on the porcelain has been observed and faithfully rendered, these two works reveal features common to the same period of Castiglione’s career. The porcelain vase depicted here has two beast figures for handles, and the decoration is composed of morning glory, which make it very similar to a piece in the National Palace Museum collection entitled “Rectangular Ming dynasty underglaze blue vase of morning glory stems.” 内容简介（英文）： Lang Shih-ning, the Chinese name of the Italian Giuseppe Castiglione, at 19 entered the Jesuit order as a novitiate and studied painting and architecture. As a missionary, he arrived in China at 27 and went on to serve the court as a painter, excelling at figures, birds-and-flowers, and especially horses. Shown here is a blue-and-white ceramic vase with a stalk of peonies. When Castiglione painted, he often added elements of Western perspective and shading to Chinese methods, giving colors fullness and objects realism. This “squarish blue-and-white vase with morning glory décor” originally appeared in the Hsüan-te era(1426-1435) of the Ming. Reproduced in the following Ch'ing dynasty, the Museum collection includes many such examples. 内容简介（英文）： Lang Shih-ning is the Chinese name of the Italian Giuseppe Castiglione. Castiglione entered the Jesuit order at the age of nineteen and studied painting and architecture. At the age of twenty-seven he came to China as a missionary and was called to serve at the Inner Court. Noted for his paintings of human figures and flowers and birds, he is particularly famous for his horse paintings. A blue-and-white porcelain vase holds several stems of budding peonies. Here Lang Shih-ning has characteristically combined traditional Chinese painting methods with Western notions of chiaroscuro and perspective, producing brilliantly colored and very realistic results. 内容简介（英文）： A blue-and-white porcelain vase holds several stems of budding peonies. Here Lang Shih-ning has characteristically combined traditional Chinese painting methods with Western notions of chiaroscuro and perspective, producing brilliantly colored and very realistic results. Lang Shih-ning is the Chinese name of the Italian Giuseppe Castiglione. Castiglione entered the Jesuit order at the age of nineteen and studied painting and architecture. At the age of twenty-seven he came to China as a missionary and was called to serve at the Inner Court. Noted for his paintings of human figures and flowers and birds, he is particularly famous for his horse paintings. 网页展示说明 义大利籍传教士画家郎世宁（Giuseppe Castiglione，1688-1766），于康熙五十四年（1715）来华传教，被召入内廷为画院供奉，并将欧洲油画写实技巧及焦点透视法传入宫廷。善写生花鸟，尤工画马。郎氏融合中国传统画法与西洋透视法，绘牡丹以色彩深浅来表现层次感，叶面正反向背，叶脉勾勒写实，极富立体感。青花牵牛花纹折方瓶，两侧贴饰龙首双耳，以高光强调瓷器晶莹圆润的质感，敷色极具光影效果。瓶内植插罕见并蒂连理的牡丹，象征祥瑞吉兆，平安富贵之意。(20110102) 网页展示说明 The Italian missionary-artist Giuseppe Castiglione (Chinese name: Lang Shining) arrived in China in 1715 to do missionary work and was summoned to the court, where he came to serve in the Painting Academy. He brought the realistic techniques of European oil painting and one-point perspective with him to the court. Castiglione excelled at bird-and-flower subjects "sketched from life" and was especially renowned for his depictions of horses. Giuseppe Castiglione fused traditional Chinese painting methods with Western techniques of perspective. Here he painted peonies with light and dark hues to express a sense of layering and volume. The leaves also turn and extend in space, the veins outlined with great realism to create an extremely rich and volumetric effect. The angular blue-and-white vase shown here is decorated with a morning glory pattern and features two dragon-head handles. Strong lighting emphasizes the shine and luster of the porcelain, the colors having a dramatic chiaroscuro effect of light and shade. Placed in the vase is a rare double-blossom branch of peonies, symbolizing auspicious fortune as well as peace and wealth. (20110102) 网页展示说明 イタリア人宣教师で画家でもある郎世宁（ジュゼッペ・カスティリオーネ/Giuseppe Castiglione,1688-1766）は、康熙54年（1715）に伝教のために中国に渡った。その后、宫廷に召されて画院に仕え、ヨーロッパの油絵の写実的技巧や一点透视法を宫廷に伝えた。花鸟の写生に优れ、马の絵を得意とした。 郎世宁は中国伝统の画法と西洋の透视法を融合させた。本作の牡丹を见ると、色彩の浓淡で花弁の重なりが表现され、叶は部分的に?返り、その叶脉は写実的な线で描かれており、立体感がある。朝颜の纹様がある青花の折方瓶には両脇に龙头を象った耳があり、强い光线で磁器のつややかな质感が强调され、着色によって光と影が鲜明に表现されている。花瓶に生けてあるのは、珍しい「连理の枝」（别々の根から生えた2本の枝が癒着したもの）の牡丹である。吉兆を象徴するこの牡丹は平安富贵を意味している。 (20110102)