书体:
色彩:
设色,青绿,描金装裱形式:
轴创作时间:
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本幅绢释文:
印记资料:
鑑藏宝玺：乾隆御览之宝题跋资料:
题跋类别：作者款识；作者：唐岱；题跋位置：本幅；款识：臣唐岱。孙祜。沈源。丁观鹏。周鲲。王幼学。吴桂合笔恭绘。；书体：楷书；全文： 印记：臣、丁观鹏主题:
主要主题：经史‧故事 刘邦为父盖新豊宫。主要主题：建筑宫殿 ；次要主题：建筑桥 ；次要主题：树木杨柳 ；次要主题：树木松 ；次要主题：建筑亭 ；其他主题：山水 ；其他主题：人物渔夫、船夫 ；其他主题：人物侍从（侍女、童仆）侍从；其他主题：建筑店舖 ；其他主题：建筑房舍 ；其他主题：建筑水榭 ；其他主题：建筑台阁 ；其他主题：翎毛鹤 ；其他主题：走兽鹿 ；其他主题：器用家俱（屏风）家俱（桌、椅）；其他主题：器用 木桶、锯子；其他主题：车轿 ；其他主题：船客舫 ；其他主题：船篷舟 ；其他主题：船渔船 ；其他主题：建筑牌楼 ；其他主题：建筑城墙 ；其他主题：建筑栏杆 ；其他主题：建筑池水 ；其他主题：建筑庭院 ；其他主题：走兽马 ；其他主题：人物百姓 ；其他主题：人物行旅 ；其他主题：人物货郎 ；其他主题：人物商贩 ；其他主题：人物表演者、杂耍艺人杂耍；其他主题：树木 ；其他主题：山水奇石 ；其他主题：山水瀑布 ；其他主题：山水云 ；其他主题：人物官员（臣） ；其他主题：山水名胜新丰；其他主题：山水江河、湖海江河、湖技法:
工笔 界画 皴法 人物衣纹描法(减笔) 苔点参考资料:
收藏着录： 石渠宝笈初编（重华宫），下册，页817 收藏着录： 故宫书画录（卷八），第四册，页135 收藏着录： 故宫书画图录，第十四册，页365-366 参考书目： 1.王耀庭、陈韵如，〈清唐岱、孙祜、沈源、周鲲、丁观鹏等画院本新丰图〉，收入王耀庭主编，《新视界 : 郎世宁与清宫西洋风》（台北：国立故宫博物院，2007年初版），页126-127。2.李霖灿，〈新丰图和新丰父老图〉，《故宫文物月刊》，第17期（1984年8月），页105-109。3.林莉娜，〈「天子之宝 — 台北国立故宫博物院的收藏」展品系列(四) — 绘画〉，《故宫文物月刊》，第247期（2003年10月），页53。 内容简介（中文）： 唐岱(1673－1752以后)是康熙(1662－1722在位)、乾隆(1736－1795在位)朝著名旗籍御用画家，为王原祁(1642－1715)的弟子；沈源(约活动于1736－1795)与丁观鹏(约活动于1737－1768)曾向郎世宁(1688－1766)学习西洋油画与焦点透视技巧。据乾隆六年(1741)内务府《活计档》所载画院处画画人等次，孙祜、周鲲、丁观鹏均列为一等。这些宫廷御用画家除奉敕独立创作，也经常在皇帝指派下与其他院画家共同完成画作。此张巨幅青绿金碧山水界画，正是清初院画「折衷中西，合作画笔」的代表作。 图上方有张若霭代书乾隆甲子(1744)春月「御制题新丰图诗」。汉高祖为江苏沛县丰邑人，后定都长安，皇帝思念家乡，改筑长安城市街景，并移丰民居之，号曰新丰，在今陜西临潼县。图中绘水域之际，前景为高低错落亭台楼阁建筑群，远方城墙内房舍宅院密布。采立轴鸟瞰式构图，处理景物以工笔界画为基础，参用西洋透视法，图中不同造型建筑群比例、细部描绘准确精致，山水点景亦刻画细腻。(林莉娜) 内容简介（中文）： 汉高祖本丰人，后定都长安。太上皇思东归，于是高组改筑骊邑城市街道悉使如丰，并移丰民以实之，以娱上皇，故号曰新丰。依故事此图应作城邑市街景，而殿宇巍然，彩绘妍丽，盖应制之作，不得不繁缛工丽以增饰之。为唐岱、孙祜、沈源、周鲲、丁观鹏等合作。 内容简介（中文）： 汉高祖刘邦本沛县丰邑人，称帝后定都长安。太上皇久思东归，于是高祖改筑骊邑，市容布置悉使如丰，并移丰民以实之，以娱上皇，号曰新丰。此画描绘新丰之城邑街景，但见远山巍峨，群树茂密，街道井然布列，殿宇宏伟耸立，人物舟车活动其间，呈现出一片热闹繁华景象。本幅由乾隆内廷画师唐岱、孙祜、丁观鹏、沈源等合作，色彩妍丽，繁缛精工，鸟瞰全景带有西洋透视法影响，为典型之院画。 内容简介（中文）： 汉高祖刘邦本沛县丰邑人，称帝后定都长安。因父亲久思东归，于是高祖改筑骊邑，市容布置悉使如丰邑，并移来丰邑人民，号曰新丰。张若霭题写的乾隆诗文即在记录这个典故。根据题跋诗文看来，此画表面上是在描绘新丰城景，但从图绘的效果而言，由唐岱等宫廷画家描绘而成，用色妍丽，建筑物也充满华丽效果，十足清宫院画特质；而构图则采鸟瞰全景的视角，更而流露出西洋透视效果。 内容简介（英文）： Emperor Kao-tsu (Liu Pang), the founder of the Han dynasty (206 BCE-220 CE), was originally a native of the city of Feng in P’ei-hsien. After he became emperor, he moved his capital to Ch’ang-an. His father, however, longed to return east to his hometown. To please his father, Kao-tsu had the city reconstructed near the capital, even having its inhabitants moved there, thus forming the New City of Feng, or New Feng. Chang Juo-ai (1713-1746) transcribed the poetry of the Ch’ien-lung Emperor (r. 1736-1795) to record this story. Judging from the contents of the inscription, this painting on the surface depicts the city of New Feng. However, in terms of presentation, the Ch’ing court painters T’ang Tai and others updated the rendering to give it a more contemporary and opulent effect that reflects much of the features of the Ch’ing court. The composition also incorporates a bird’s-eye view that reveals the use of Western methods of perspective. 内容简介（英文）： The Celebration of New FengT’ang Tai, Sun Hu, and OthersCh’ing Dynasty (1644-1911) Liu Pang, the founder of the Han, was a native of Feng. Becoming emperor, he established the capital at Ch’ang-an. His father, however, longed for his home. To make him happy, Liu had part of the capital changed to resemble Feng. He even had Feng residents moved there to make it more authentic, calling it “New Feng.” This work shows streets and trees within the city walls, beyond which lie misty forests and mountains. The city is clearly arranged with halls, figures, and boats making for a festive scene. This is a collaborative effort of court artists under the Ch’ien-lung Emperor. The color is opulent and the brushwork exact. The bird’s-eye view is accomplished in part through Western perspective, making this a typical court painting of the time. 内容简介（英文）： New FengCourt PaintersCh’ing Dynasty (1644-1911)Emperor Kao-tsu (r.206-1958B.C.) of the Han dynasty, was a native of Fang. Later he established his capital in Ch’ang-an. Because his father often thought of returning to his old home in the east, Kao-tsu renovated the architecture and streets of Ch’ang-an to resemble the old city of Feng. Further, he moved some of the people of Feng to the new capital to lend yet another note of authenticity. Consequently the renovated part of city was called New Feng. This painting ought to depict a vista of the streets renewed of Ch’ang-an. But since the scroll was painted at imperial request, the palace halls and other buildings are painted with overly ornate color. Court painters such as T’ang Tai, Sun Hu, Shen Yüan, Chou K’un and Ting Kuan-p’eng collaberated or the painting.
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