弘历观荷抚琴图轴-清朝-人物

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弘历观荷抚琴图》轴,清,绢本,设色,纵299.5厘米,横156.5厘米。

  本幅无作者款识。

  随着明末清初的“西学东渐”之风,一些欧洲画家开始在清代宫廷供奉。一方面,他们接受中国传统绘画方式,采用中国笔墨颜料和纸绢作画,另一方面,他们依然坚持西洋绘画技法中的透视原则,在作品中着意表现物体的体积、质感、明暗、投影乃至倒影。此幅虽未署作者名款,实由意大利画家郎世宁主绘,中国画家补画山水背景。画中乾隆皇帝身着汉装,临湖抚琴,远处高山流水,喻其襟怀心境。

  作者不仅通过高超的技巧和精准的透视画法成功地表现出水边亭台的立体感和通透感,而且将建筑整体复杂的结构和各个构件的细部都交代得一清二楚,细腻的笔触与富于变化的色彩将原木立柱和屋顶青石瓦片的肌理与质感描绘得精微而生动。从此图中可以看到郎世宁运用焦点透视手法,按照一定的规律将所见到的屋宇移于画幅,成功地在二维平面画幅上真实地表现出多维空间,与传统中国界画描绘空间的手法完全不同。

 

--------Introduction in English--------

 

"Hong Li Guan He Fu Qin Tu" axis, Qing Dynasty, silk, color, 299.5 cm vertical, 156.5 cm horizontal.

This picture has no author's knowledge.

In the late Ming and early Qing dynasties, some European painters began to worship in the Qing court. On the one hand, they accept the traditional Chinese painting methods, using Chinese ink and ink pigments and paper silk painting, on the other hand, they still adhere to the perspective principle of Western painting techniques, in their works, they intentionally express the volume, texture, light and shade, projection and even reflection of objects. Although this painting was not signed by the author, it was actually painted by Italian painter Lang Shining, while Chinese painter painted landscape background. In the painting, Emperor Qianlong was dressed in Han costume, facing lakes and fuqin, and running mountains and rivers in the distance, which indicated his mind.

The author not only succeeds in expressing the three-dimensional and penetrating feeling of waterfront pavilions through superb skills and precise perspective drawing, but also gives a clear account of the complex structure of the whole building and the details of each component. The delicate brush strokes and varied colors will make the texture and texture of log columns and roof bluestone tiles. The painting is subtle and vivid. From this picture, we can see that Lang Shining used the focus perspective technique to move the houses he saw into the picture according to certain rules, and successfully displayed the multi-dimensional space on the two-dimensional plane picture. It is totally different from the traditional Chinese boundary painting in describing the space.

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