书体:

色彩:

设色

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅纸前隔水绫拖尾纸

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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：（干卦印）
收传印记：高皇帝孙
收传印记：益府图书
收传印记：云林子
收传印记：子京宝藏
收传印记：董幼千珍藏印

题跋资料:

题跋类别：题跋；作者：宋徽宗；题跋位置：本幅；款识：宣和二年正月谷旦。睿思殿书。；书体：行书；全文：锺馗氏出猎图乙卷。迺南唐顾闳中笔也。作锺馗氏及诸鬼。皆狰狞雄杰。所荷器械鹰犬猛兽之类。俱极精妙。设色劲净。目中希覩也。因命装潢以充秘玩云。宣和二年正月谷旦。睿思殿书。印记：睿思殿宝、押字朱印

题跋类别：题跋；作者：米友仁；题跋位置：本幅；款识：绍兴甲子三月三日。奉敕恭跋。；书体：行书；全文：此卷南唐顾闳中画。臣米友仁审定。真蹟无失。绍兴甲子三月三日。奉敕恭跋。

题跋类别：题跋；作者：顾瑛拖尾顾阿瑛书；全文：；书体：行书；全文：至正庚子（1360）七月二日。金粟道人顾阿瑛。华盖洞着书者饶介。柏子庭释子日观。淮海后人秦约。同观于杨廉夫草玄阁。时新秋雨后。阁外翠樾阴森。湖石桐蕉。咸生凉意。相与瀹茗欣赏此卷。并志岁月云。顾阿瑛书。

题跋类别：题跋；作者：朱之蕃拖尾朱之蕃跋；书体：楷书；全文：锺馗出猎图一卷。南唐顾闳中真蹟。本出宣和内府。有道君御书。睿思小玺。又思陵干卦印。似存入绍兴内帑。在御书后。有米敷文审定跋。并胜国顾金粟诸公志记。馀以万历辛卯。奉使益藩。因出先王所藏名迹相示。遂以此卷见贶。义不敢违。勉尔祇受。因宝藏之。以识大槩。朱之蕃跋。印记：状元学士

题跋类别：题跋；作者：王肯堂前隔水金坛王肯堂记；书体：楷书；全文：朱兰嵎太史。奉使益藩时。得南唐顾闳中画锺馗氏出猎图乙卷。太史秘之。无异拱璧。馀以万历乙已。过南都。见太史于私第。因出书画相赏。及后迺出此卷。馀不禁瞠目失声叹美之。太史不吝。即以推惠。馀既获此。无啻南金重宝也。迺以宋碾羊脂玉双柱罇。汉铜青绿提梁卣酬之。重加装设。子子孙孙。其永保之。时万历乙□八月上澣之吉。装潢于南都。金坛王肯堂记。印记：王肯堂印、太史氏

主题:

主要主题：佛道人物锺馗 ；次要主题：佛道人物鬼怪 ；其他主题：走兽骡．驴 ；其他主题：走兽狗 ；其他主题：走兽虎 ；其他主题：翎毛鹰 ；其他主题：器用兵器刀．斧．剑．弓箭．盾牌．槌．杖．短刀

技法:

人物衣纹描法(粗细线条) 工笔 

参考资料:

收藏着录： 故宫书画图录，第十五册，页109-112 参考书目： 1.刘芳如，〈传五代南唐顾闳中锺馗出猎图〉，收入国立故宫博物院编辑委员会编，《迎岁集福 — 院藏锺馗名画特展》（台北：国立故宫博物院，1997年二月初版一刷），页126-129。2.刘芳如，〈迎岁集福 — 院藏锺馗名画特展〉，《故宫文物月刊》，第167期（1997年2月），页88-89。3.何碧琪，〈断代密码：(传)郭忠恕〈摹顾恺之兰亭讌集图〉观后〉，《故宫文物月刊》，第275期（2006年2月），页46-59。 内容简介（中文）： 顾闳中（十世纪后半），江南人。事南唐元宗父子为待诏，善画人物。盛唐以降，由于锺馗驱傩的风俗已甚流行，画家多喜绘锺馗。据画史载，五代时，周文矩、石恪、董源、黄筌等人，均画过锺馗图像。院藏顾闳中此卷，虽未见诸清代以前的着录，当亦有所依据。此卷设色画锺馗按剑骑驴，另有导从鬼卒十五名，持弓矢戈盾，臂鹰牵犬系虎，面目狰狞，造型奇异。所荷器械鹰犬猛兽之类，极为精妙。构图采一字长蛇阵法，布局颇古，但细审人物描法，较诸顾氏「韩熙载夜宴图」卷，颇不相类，疑系明人仿古之作。无名款，卷末有宋徽宗识，米友仁跋。展出之一段，画一鬼鍊虎，伸臂跨步，瞋目升发，肌键突隆，作使力状。虎伏身引曳，若驯犬。锺馗在后，服冠骑驴，执剑插笏，似写出巡猎疠之景。 内容简介（英文）： Ku Hung-chung was a native of Kiangnan and served as Painter-in-Attendance during the reign of Hsüan-tsung(r.943-960) of the Southern T'ang, excelling at figure painting.After the High T'ang (8th c.), Chung K'uei as a demon queller and dispeller of evil had already become widespread, and painters often represented his image for these purposes. According to art historical records, artists of the tenth century, such as Chou Wen-chü, Shih K'o, Tung Yüan, and Huang Ch'üan, did painting of Chung K'uei. This scroll traditionally attributed to Ku Hung-chung is not documented prior to the Ch'ing dynasy (1645-1911), but awaits further research. This handscroll painting in colors takes as its theme Chung K'uei on demon hunt, and accompanied by fifteen demon-attendants. In his train, march many spirits carrying weapons, hounds or tigers Ferocious and deformed, they are all painted with meticulous detail. The figures form a line through the handscroll, and the composition is a traditional and archaic one. The rendition of the figures themselves is delicate, but differs somewhat from that in his masterpiece, "The Night Revels of Han Hsi-tsai." Based on style, this scroll appears to be Ming (1368-1644) imitation. The painting is not signed but bears a colophon by the Sung Emperor Hui-tsung (r.1100-1125) and that by Mi Yu-jen(1086-1165)The section on display depicts Chung K'uei and a spirit pulled by a tiger. The beast, chained like a trained dog, crawls forward with all its might. The spirit, with eyes goggling, hairs on end and muscles bulging, appears to be making an effort to hold back the tiger. After them, comes Chung K'uei in official regalia riding a donkey. He is out on his demon hunting beat.