书体:

色彩:

设色

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅绢拖尾纸

释文:

印记资料:

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
收传印记：宣和中秘
收传印记：内府图书之印
收传印记：葑溪彭氏珍藏
收传印记：苍巖子
收传印记：蕉林书屋
收传印记：蕉林鉴定
收传印记：蕉林梁氏书画之印
收传印记：蕉林居士（重一）
收传印记：蕉林
收传印记：棠邨（重一）
收传印记：冶溪渔隐
收传印记：苍巖子
收传印记：梁清标玉立氏印章
收传印记：净心抱冰雪
收传印记：毕泷曾观
收传印记：毕泷审定
收传印记：珍（半印）
收传印记：玩（半印）
收传印记：（残印二不可辨）

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：易元吉猴猫图。印记：内府图书之印

题跋类别：题跋；作者：赵子昂拖尾子昂；书体：行楷书；全文：二貍奴方雏。一为孙供奉携挟。一为怖畏之态。画手能状物之情如是。上有祐陵旧题。藏者其珍袭之。子昂。印记：赵子昂氏

题跋类别：题跋；作者：张锡拖尾张锡跋；书体：行书；全文：猴性虽獧。而愚于朝四暮三之术。貍虽曰卫田。而不能禁硕鼠之满野。是物之智终有蔽也。是理姑置。今观易元吉所画二物。入圣造微。俨有奔动气象。又在李迪之上。信宋院人神品也。后有文敏小跋。字虽不多。而俊逸流动。遂成二绝矣。今为吾友郜君世安所藏。世安善鉴画能书。其得于是者必多矣。尚永宝之。张锡跋。印记：张、天锡、天府谪仙

题跋类别：题跋；作者：毕泷拖尾乾隆五十五年岁次庚戌。七月二十日。竹癡毕泷记。；书体：楷书；全文：张锡。字天锡。别号海观。钱塘人。天顺壬午领乡荐。春闱不偶。授山西大同府应州山阴县教谕。天资俊拔。下笔成文。诚八叉七步之才也。其豪放飘逸。则鲸吞海吸。而青楼红粉。名公钜卿。争相迎递。远近无不知其名者。惜未大成而卒。至今人传之。家尝有竹数竿。作亭其间。名曰医俗。因记之以颜于亭。然其文虽近谑。亦足致理。今举此可知其馀也。此传载仁和郎氏七修类藳第三十二卷中。乾隆五十五年岁次庚戌。七月二十日。竹癡毕泷记。印记：涧飞

主题:

主要主题：走兽猫（貍奴） 主要主题：走兽猴 ；其他主题：器用花器桩、带子

技法:

工笔 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第三册，页1385 收藏着录： 故宫书画录（卷四），第二册，页19 收藏着录： 故宫书画图录，第十五册，页243-247 收藏着录： 国宝再现-书画菁华特展，页84-91、253 参考书目： 1.张华芝，〈宋易元吉猴猫图〉，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84-85。2.张华芝，〈宋易元吉猴猫图〉，收入王耀庭主编，《易元吉猴猫图》（台北：国立故宫博物院，2003年初版），页6-7。3.张华芝，〈易元吉猴猫图〉，收入林柏亭主编，《大观- 北宋书画特展》（台北：国立故宫博物院，2006年初版一刷），页201- 202。4.刘芳如，〈宋画貍奴〉，《故宫文物月刊》，第84期（1990年3月），页4-11。5.张华芝，〈你奈我何？ — 绘声见影的〈宋易元吉猴猫图〉〉，《故宫文物月刊》，第278期（2006年5月），页54-60。 内容简介（中文）： 易元吉(约活动于十一世纪后半叶)，湖南长沙人。字庆之。天资颖异，善画得名。初工花鸟专门，但当他看到赵昌(北宋花鸟画大家)画作后，乃大为折服，认为要能成为名家，唯有摆脱前人旧习，于是他在湖南、湖北一带搜奇访古，深入万守山区，观察猿猴等物，经年累月，终有所得。他又曾经在长沙住所后，开凿园圃、水池，蓄养水禽山兽，观察它们的动静作息，所以他的画作极富有生趣，并且以画猿为名。本图画孙猴儿一只，脖子上围绑着粗绳，圈系在地，两只小花猫，大概路经此地，不经意中，一为猴儿挟抱，另一则惊避回顾。画中二小猫，全身毫毛皆用纤细的笔线，笔笔丝出，再加色晕染。黄花猫斑纹处是以淡赭墨染绘，毛色层次井然分明。盘坐在地的猴儿也是采同样手法处理，然而毛发更见丰盈毛绒，多而不乱。画家除了在此展现出精巧的画技外，捕捉动物生态，更有其独到之处。无论是调皮捣蛋的顽猴；或是它怀中畏怯无奈的小猫；或是一旁怒目嘶叫、张牙舞爪的倖免者，这三者间生动的神情，及合于本性、出于自然的瞬间互动，都借由画家敏睿的观察，和传神的画笔，舖陈出如此富有戏剧效果的画面。作者传神体物的绘画表现，足能成为北宋人写生写实的艺事风格代表。 内容简介（中文）： 易元吉（活动于十一世纪后半），字庆之，今湖南长沙人。灵机深敏，始以花鸟专门，及见赵昌画作，深感歎服。因而立志超轶古人之所未到，遂写獐猿而驰其名。画一黄猴携挟小猫在怀。已走避至另一侧的小虎斑猫，犹回头怒目嘶叫，似欲救其同伴。而凝眸鼓吻的猴儿，却显得逍遥自得。出自动物交会间的本能反应，在画家诠释下，已然超越状物之形，达于体物之生，呈现北宋花鸟绘画的主体精神。(20061206) 内容简介（英文）： I Yüan-chi (style name Ch'ing-chih) was a native of what is now Ch'ang-sha, Hunan. A skillful and observant artist, at first he specialized in painting the theme of birds and flowers. However, when he saw the works of Chao Ch'ang, a master in that genre, he decided to devote himself to exceeding the ancients in something new, so he gradually turned to the subjects of monkeys and deer, in which he quickly gained fame. In this painting, a pet kitten with a red ribbon collar is held in the clutches of a rhesus macaque. With a calm yet mischievous look, it is tethered to a stake in the ground. The kitten appears to struggle to break free as another spotted calico, escaping the macaque, looks back in anger at the macaque for grabbing its playmate and perhaps wishes to rescue it. This instinctive interaction among animals, as interpreted by the artist, already far exceeds the mere description of external appearances in previous eras and has reached a state of expressing their nature, thereby reflecting the subjective essence of bird-and-flower as well as animal painting of the Northern Sung.(20061206) 内容简介（英文）： I Yuan-chi was a native of Ch'ang-sha, Hunan. He at first specialized in painting birds and flowers. However, when he saw the works of Chao Ch'ang (a master in bird-and-flower painting), he decided to turn another subject in which no one had achieved fame. Going deep into the mountains of Hunan and Hupeh, he observed monkeys, gibbons, and other animals. Returning to Ch'ang-sha, he set up a garden to observe flora and fauna. Consequently, he achieved fame in painting the previously uncharted genre of monkeys. In this painting, a pet kitten with a red ribbon collar is held in the clutches of a monkey. With a calm yet mischievous look, it is tethered to a stake in the ground. Perhaps the kitten was caught as it was passing by the monkey. The kittens were rendered with extremely fine brushstrokes to which was added washes of color, and the monkey was rendered in the same manner. The satisfied monkey, fearful captured kitten, and angry other kitten have all been captured and portrayed by the artist in the dramatic scene shown here. Frozen in naturalistic positions against a blank background, the spirit and appearance appear quite true to life. The realism here accords with the ideals of naturalism sought by artists of the Northern Sung (960-1126).