书体:

色彩:

浅设色,设色,描金,泥金

装裱形式:

卷

创作时间:

清高宗乾隆十七年（1752）

文字类型:

质地:

本幅纸

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：养心殿鑑藏宝
鑑藏宝玺：五福五代堂古稀天子宝
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：寓意于物
鑑藏宝玺：笔花春雨
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：姚文瀚；题跋位置：本幅；款识：乾隆十七年（西元一七五二年）六月，臣姚文瀚奉敕恭摹宋人笔意。；书体：楷书；全文： 印记：文、瀚

题跋类别：题跋；作者：稽璜；题跋位置：本幅；款识：臣稽璜敬书；全文：；书体：楷书；全文：（分段楷书褚亮赞。文不录）印记：臣、璜

主题:

主要主题：人物官员（臣） 主要主题：山水  ；其他主题：果蔬石榴 ；其他主题：器用文房用具纸、笔、墨、砚、水滴、臂搁；其他主题：建筑桥 ；其他主题：果蔬苹婆．林檎苹婆；其他主题：树木芭蕉 ；其他主题：翎毛鹤 ；其他主题：树木松 ；其他主题：器用花器 ；其他主题：果蔬佛手藕；其他主题：器用香炉．火盆香炉、火盆、炉；其他主题：器用文玩（琴棋书画）琴棋书画；其他主题：树木梧桐 ；其他主题：建筑庭院 ；其他主题：器用投壶 ；其他主题：水中动植物珊瑚 ；其他主题：船篷舟 ；其他主题：树木竹 ；其他主题：花草紫薇 ；其他主题：果蔬桃子 ；其他主题：器用扇 ；其他主题：花草牡丹 ；其他主题：器用家俱（屏风）屏风、几、榻、凳、书柜；其他主题：山水奇石 ；其他主题：花草芙蓉 ；其他主题：花草灵芝 ；其他主题：树木寒林．枯树枯树；其他主题：树木柏 ；其他主题：建筑寺庙 ；其他主题：果蔬梨 ；其他主题：器用饮食器尊、盘、罐、碗、冰箱、杵、壶；其他主题：建筑栏杆 ；其他主题：山水江河、湖海江河；其他主题：人物高士（士人、隐士）高士；其他主题：山水石磴、栈道石磴；其他主题：人物侍从（侍女、童仆）侍徒；其他主题：花草  

技法:

写意 皴法 人物衣纹描法(减笔) 工笔 界画 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈续编（养心殿），第三册，页1260 收藏着录： 故宫书画录（卷八），第四册，页50 收藏着录： 故宫书画图录，第二十一册，页191-192 收藏着录： 以文会友-雅集图特展，页192-199、280 内容简介（中文）： 唐太宗为秦王时，府中蓄有十八谋士，登基后，特命阎立本画十八学士图，宋以后常以文人雅集的方式呈现。姚文瀚此卷绘于乾隆十七年，上有嵇璜楷书〈十八学士赞〉，与院藏〈刘松年唐十八学士图〉构图相同，设色明净秀丽，用笔精细挺劲，人物开面略施阴影，具立体感，对各类家具器物的细节描绘考究。姚文瀚（生于西元一七一三－卒年不详），北京人。号濯亭。乾隆时供奉内廷，工佛道人物。(20100101) 内容简介（中文）： 姚文瀚（约活动于西元一七三六至一七九五年），善画佛道人物。由此作品来看，其用笔线条精细刚劲，设色明净秀丽，无论绘人物、家具皆写实有立体感。唐太宗为秦王时，府中蓄有十八谋士，登基后，特命阎立本画十八学士图，嗣后成为宋以后常见的画题。此卷与刘松年唐十八学士、传宋人梧阴清暇构图相同，作成于乾隆十七年。此卷临本家具形象更清晰，造型合理，显示出画家对器物造型观察入微。全卷共有家具多件，在数量、种类、形制、装饰方面，都提供了极宝贵的资料。 内容简介（英文）： Yao Wen-han excelled at religious and figural subjects. Judging from this work alone, Yao Wen-han’s brushwork was precise, refined, and powerful, while his use of colors was pure and beautiful. Regardless of whether painting figures or furniture, they all appear real and three-dimensional. When Emperor T’ang T’ai-tsung (r. 627-649) was still Prince of Ch’in, he sponsored eighteen scholars. After he ascended the throne, he ordered the court artist Yen Li-pen to paint the “Picture of the Eighteen Scholars.” Starting in the sung dynasty (960-1279), this became a common theme in painting. The composition of this work is similar to “Eighteen Scholars of the T’ang” by Liu Sung-nien (fl. ca.1174-1224) and “Relaxing in the Shade of Pawlonia Trees” by an anonymous Sung artist. This scroll was painted in 1753. The description of furniture in this scroll is clear and precise, and the designs are logical. This demonstrates that Yao Wen-han’s observation of furniture details was acute. Throughout the scrolls are many examples of Ch’ing style furniture. They all provide valuable information for researching the variety and decoration of Chinese furniture. 内容简介（英文）： When the Tang emperor Taizong (r. 626-649) was Prince Qin, his residence featured eighteen great scholars. After ascending the throne, he ordered Yan Liben to do a painting of them, which by the Song dynasty (960-1279) became a general mode for depicting a literary gathering. Yao Wenhan did this handscroll in 1752. It features a “Eulogy on the Eighteen Scholars” in regular script by Ji Huang (1711-1794). It is similar in composition to the National Palace Museum’s “Eighteen Scholars” by the Song artist Liu Songnian (fl. 1174-1224). The coloring is bright and beautiful, the brushwork fine yet strong. Facial features reveal shading for a volumetric effect, and the furniture and objects are fine and precise. Yao Wenhan (native to Beijing) served the Qianlong court as a painter specializing in figural themes.(20100101)