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：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
鑑藏宝玺：宣统御览之宝

题跋资料:

主题:

主要主题：佛道人物锺馗 ；次要主题：佛道人物鬼怪 ；次要主题：果蔬石榴 ；次要主题：祥瑞蝙蝠 ；其他主题：器用服饰（对人）帽；其他主题：器用 镜；其他主题：经史‧故事 锺馗

技法:

人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2484 收藏着录： 故宫书画录（卷八），第四册，页137 收藏着录： 故宫书画图录，第十四册，页415-416 参考书目： 1.刘芳如，〈无款丰绥先兆图〉，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149-150。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108。 内容简介（中文）： 本幅绘锺馗身着朱衣，左手揽镜自照，右手持乌帽。膝下则坐摄四鬼，另一蝙蝠翔于前。题云︰「丰绥先兆」，或即取「封祟仙照」的谐音。画无作者款印。惟锺馗照镜图，于清以前未尝见及。清代，始见方薰（十八世纪末）绘「锺馗对镜」（一七九七），及高其佩（一七六二—一八三四）指墨「镜中锺馗」。若与本幅相较，「丰绥先兆」画法，虽和前举二图不尽相侔，但试图展现祥瑞、幽默的情味则一，故推断此作应出自清人之手。 内容简介（中文）： 锺馗朱衣，左手持镜自照，右手执乌帽，坐摄三鬼，膝挟一鬼执榴花。一蝙蝠飞翔于前方。按锺馗貌本丑陋，镜中自我端详，表情讶异。画家构思，颇为别致。 内容简介（中文）： 本幅绘锺馗着朱袍，左手揽镜自照，右手持乌帽。胯下坐摄四鬼，一蝙蝠翱翔于前。按锺馗天生貌丑，偶然端详镜中自影，心头亦不免一惊，表情引人莞尔。画题作「丰绥先兆」，或即取「封祟仙照」的谐音。现存以锺馗照镜入画者，均不早于清代，其中又以十八世纪高其佩〈镜中锺馗〉及方薰〈锺馗对镜〉为最早。本幅画法虽与两图相异，但展现祥瑞、幽默的旨趣则一，推断亦出自清人手笔。(20100101) 内容简介（英文）： This work depicts the legendary demon-queller Zhong Kui dressed in a red robe. He looks at himself in a mirror in his left hand, and in his right hand is his dark cap. He is seated on four crouching demons as a bat flies above. Zhong Kui was known for his disfigured looks, so when he saw himself by chance in a mirror, he naturally was startled, thus accounting for the expression here. The title of this work is a homonym for the blessing “Ennobled Reflection of an Immortal.” All depictions of Zhong Kui viewing a mirror are no earlier than the Qing dynasty, and the earliest ones are from the 18th century, such as by Gao Qipei and Fang Xun. Though the style here differs from those of these two artists, it still shares the qualities of auspiciousness and humor, suggesting this also was by a Qing dynasty painter.(20100101) 内容简介（英文）： Chung K’uei, the devil queller, is dressed in red with a mirror in his left hand and a hat in his right hand. Underneath him there are three tame devils and another one, holding a pomegranate branch, is seized between his knees. A bat, the symbol of happiness, is flying in the upper corner.The representation of the theme is unusually original in showing the ugly Chung K’uei astonished by his own face in the mirror. 内容简介（英文）： In this painting, Chung K’uei wears a read robe and lifts a mirror in his left hand to look at himself. He holds his dark cap in his right hand and is seated on a support formed by the bodies of demons. An auspicious bat appears above. The full title of this painting, “Abundant Peace as Auspicious Omen (feng-sui hsien-chao丰绥先兆) is a homonym for the blessing” “Ennobled Reflection of an Immortal (feng-ch’ung hsien-chao封崇仙照)”;hence the subject matter.This painting has neither signature nor seal of the artists. The image of Chung K’uei looking in a mirror is not found prior to Ch’ing dynasty (1644-1911). In the Ch’ing, the subject appears in such works as “Chung K’uei Looking in a Mirror” done by Fang Hsün (fl. late 18th c.) in 1797 and “Chung K’uei in a Mirror” by the fingernail painter Kao Ch’I-p’ei (1672-1734). Compared with these two works, the techique in “Auspicious Omen” differs, but the combination of auspiciousness and humor indicates that this work probably comes the hand of a Ch’ing painter.