《午瑞图》轴，清雍正，郎世宁绘，绢本，设色，纵140厘米，横84厘米。
这是一幅近似于欧洲静物画的作品，青瓷瓶内插着蒲草叶、石榴花和蜀葵花，托盘里盛有李子和樱桃，几个粽子散落一旁。图中的粽子、蒲草等物暗示此画是为中国的传统节日——端午节而绘制的。就构图而言，画中物品聚散有致，呈正三角形布局，给人的视觉以稳定感。而绘制方法则采用色彩深浅及光影明暗的变化展示花叶、水果和瓷瓶的立体感，尤其是瓷瓶肩部见于欧洲绘画而中国画绝无的“高光”手法，能令观者清晰地体会到西方油画的技巧。虽然画面没有落年款，但根据清内务府造办处的档案记载，此图应作于雍正十年（1732年），属郎世宁在中国的早期作品。
作为异域来客，为了使基督教广布中国，明末清初抵华的众多传教士们采取了将东西方文化相融合，而后循序渐进地推行教义的传教策略，郎世宁无疑是一位彻底的实践者。尽管此图中他对静物的表现技法源自欧洲油画，然而其内容反映的却是蕴含华夏民族两千余年文化精髓的风俗。正是由于借助兼得中外、博取东西的折衷技巧与迎合中国皇帝趣味的题材择选，才使郎世宁成为深得雍正、乾隆两位帝王赏识、并且大加重用的西洋画家，他有为数不少的画作存世亦得益于此。
款署：“臣郎世宁恭画”，下钤二印，印文模糊不辨。鉴藏印有“乾隆御览之宝”。
--------Introduction in English--------
"Wurui Tu" axis, Qing Yongzheng, Lang Shining painting, silk, color, 140 cm in length, 84 cm in transverse.
This is a work similar to European still life painting. Celadon vases are filled with cattail leaves, pomegranate flowers and hollyhock flowers. Plums and cherries are in the tray. Several zongzi are scattered on one side. The dumplings and cattails in the picture imply that the painting was drawn for the Dragon Boat Festival, a traditional Chinese festival. As far as composition is concerned, the objects in the picture gather and disperse uniformly, showing a regular triangle layout, giving people a sense of visual stability. The painting method uses the changes of color depth and light and shade to show the three-dimensional sensation of flowers, leaves, fruits and porcelain bottles, especially the "highlight" technique which is found in European paintings while Chinese paintings are absolutely unique, which can make the viewer clearly understand the skills of Western oil painting. Although the picture is not dated, according to the records of the Qing House of Internal Affairs Office, this picture should be made in Yongzheng Decade (1732), which belongs to Lang Shining's early works in China.
As a foreign visitor, in order to make Christianity widely spread in China, many missionaries who arrived in China in the late Ming and early Qing Dynasties adopted the strategy of integrating Eastern and Western cultures, and then gradually pursued the missionary doctrine. Lang Shining was undoubtedly a thorough practitioner. Although his technique of expressing still life in this picture originates from European oil paintings, its content reflects the customs that contain the essence of Chinese culture for more than two thousand years. It is precisely because of the compromise skill of acquiring both Chinese and foreign things and the choice of subjects to cater to the interests of the Chinese emperors that Lang Shining became a Western painter who was deeply appreciated by the emperors Yongzheng and Qianlong, and was greatly used. Many of his paintings survived in the world.
Section Department: "Chen Lang Shining Ning Gong Painting", two seals under Jun, the seal is indistinguishable. The collection is marked with the treasure of Emperor Qianlong's Royal View.
