书体:

色彩:

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅绫

释文:

印记资料:

收传印记：端康皇贵妃御览（重十五）

题跋资料:

主题:

技法:

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页158 收藏着录： 故宫书画图录，第二十七册，页354-357 参考书目： 1.王耀庭、陈韵如，〈清屈兆麟仿郎世宁花卉〉，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134-135。2.王耀庭，〈清屈兆麟仿郎世宁花卉〉，收入王耀庭主编，《传移模写》（台北：国立故宫博物院，2007年初版），页96-97。 内容简介（中文）： 屈兆麟，生平待考。 本幅系仿自郎世宁「仙萼长春」册。按郎世宁于雍正年间（一七二三–一七三五）曾奉命教导中国画家作油画。「仙萼长春册」为郎世宁晚年作品。此件仿作完全依原作画法，尺幅亦相近，唯有所用绢地不同，色泽郎氏较鲜艳之不同而已。 内容简介（中文）： 屈兆麟，生平待考。此套册页精确临仿郎世宁〈仙萼长春〉，尺幅相近，唯有所用绢地不同，仿制与原本莫辨，令人叹为观止，是学习郎世宁的优秀作品。此次展览选出两开相互比较，屈兆麟对于郎世宁画作亦步亦趋精细描绘，但其间笔触仍有差异。例如花蕊部份表现稍稍平面化。对于禽鸟的羽毛光泽虽也有掌握，但透过光泽变化所显示出的体积感则略为失色。 内容简介（英文）： Little is known about Ch’ü Chao-lin, including his birth and death dates. This album of leaves is almost an exact copy of “Immortal Blossoms in an Everlasting Spring” by Giuseppe Castiglione (1688-1766; whose Chinese name was Lang Shih-ning), even down to the size of the paintings. The only discernible difference lies in the quality of the silk. The exactness of the copy is indeed amazing, making this an excellent study piece of Castiglione’s painting. Two of the leaves have been selected for this exhibition for comparison with those by Castiglione. Ch’ü Chao-lin demonstrates incredible closeness in detail and refinement, but there are slight differences in the brushwork compared to that of Castiglione. Ch’ü’s representation of the pistils and stamens of the blossoms, for example, is slightly flatter. Likewise, even though Ch’ü Chao-lin exhibited considerable control in rendering the luster of feathers on the birds, changes to the lighting reveal slightly less volume to the forms. 内容简介（英文）： This painting is a leaf from the Album After Castiglione’s Birds and Flowers by Ch’ü Chao-lin. Ch’ü duplicated almost exactly the sixteen-leaf album drawn from life by Castiglione. The two albums are approximately of the same size, but they used different kinds of silk. And also, Ch’ü did not employ colors as rich and brilliant as Castiglione had done. The facts of Ch’u Chao-lin’s life are unknown. Castiglione (1688-1766) did his album in the late period of his life. Earlier during the Yung-cheng period (1723-1735) he instructed Chinese painters in oil painting at the imperial command.