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：宣统御览之宝

题跋资料:

主题:

主要主题：花草菖蒲菖蒲、艾草主要主题：花草蜀葵 主要主题：花草石榴 主要主题：果蔬石榴 主要主题：节令与二十四节气端午 主要主题：器用家俱（屏风）盆、托座主要主题：器用花器花瓶、托座主要主题：器用童玩香包主要主题：器用宗教器用符箓；次要主题：果蔬杨梅 ；次要主题：果蔬荔枝 ；次要主题：果蔬樱桃 ；次要主题：果蔬桑椹 ；其他主题：花草水蜡蠋 ；其他主题：果蔬  ；其他主题：果蔬荸荠 ；其他主题：食品包子 

技法:

工笔 

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页71 收藏着录： 故宫书画图录，第五册，页259-260 参考书目： 1.刘芳如，〈传元人天中佳景〉，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139-142。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100-101。3.〈元人　天中佳景〉，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104。 内容简介（中文）： 幅中插花的花瓶，正展现花卉画「瓶插」的构图方式，虽以瓶插为名，实则插于任何容器的构景方式均属此类。题名「天中佳景」，「天中」乃五月初五端午节别称，故为应景而作。其中蜀葵、石榴花和水蜡烛插于瓶中，石榴梢系香囊；一旁盘内摆设粽子、荔枝、石榴等，下置菖蒲、樱桃、桑椹类，均为当令花果时物。此节令正值虫类滋生，易有瘟疫的夏季，因少见的于画幅上方安排四道道教的灵符和一锺馗画像，以驱鬼避邪。(20110102) 内容简介（中文）： 本幅无作者款印。画题云「天中佳景」，「天中」即端午节的别称，故知此画当为端阳应景之作。幅中凡绘瓶插蜀葵、石榴、菖蒲等五月花卉，枝梢并系有精致香囊。盘中则摆设粽子、荔枝、石榴等。幅上方，另见道教的灵符四道，及锺馗画像一。按，符咒自黄帝时代起，即被视为驱鬼的工具。北宋神宗年间，也已出现印制锺馗画像的记载。不过，锺馗图像由岁朝除祟演变为端节迎福，却须迟至明中叶。据此，「天中佳景」的作者绝不至早于明。 内容简介（英文）： This painting has neither seal nor signature of the artist. Since the title mentions the Double Fifth festival, the objects represented here correspond to early summer. In the vase are sprigs of hollyhock, poinegranate, and cattails, associated with early summer, when the Double Fifth occurs. Suspended from a branch is a delicate ornament with a scented pouch. In the dish next to the vase are items of food (perhaps offerings), including rice duinplings, lichees, and a pomegranate. Painted onto the top of this hanging scroll are two Taoist talismans on either side of a portrait of Chung K'uei. Talismans have their legendary origins with the Yellow Emperor and have been associated with the warding off demons and ghosts. Records from the reign of Emperor Shen-tsung (r. 1068-1085) in the Northern Sung indicate that the portrait of Chung K'uei already was already circulating in print form. The gradual transformation of Chung as a figure associated with the New Year to one with the Double Fifth began no earlier than the mid-Ming (1368-1644), indicating the earliest period when the artist of this painting could have been active. 内容简介（英文）： In this hanging scroll, the branches of blossoms in a vase correspond to the “vase arrangement” type of composition found in flower painting. Despite the term “vase,” actually the scenery of flowers and plants in any kind of vessel belongs to this type of composition. The term “Tianzhong” in the title here is another name for the Duanwu (or Dragon Boat) Festival, which occurs on the fifth day of the fifth lunar month. This painting is therefore an arrangement for this occasion. In the vase are sprigs of hollyhock, pomegranate, and cattail, and tied to the pomegranate twig is a fragrant pouch. Behind the vase is a dish with a rice dumpling, litchi, and pomegranate offering. There is also calamus, cherry, and mulberry, which are all in season at this time of the year. This is when insects come out in great numbers, summer also being the time of pestilence outbreaks in the past. That is why four Daoist talismans (rarely depicted in paintings) and a portrait of the demon-queller Zhong Kui are depicted at the top of this painting to ward off evil spirits and avert misfortune.(20110102)