书体:

色彩:

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：养心殿鑑藏宝
鑑藏宝玺：五福五代堂古稀天子宝
鑑藏宝玺：太上皇帝之宝
鑑藏宝玺：养心殿宝
鑑藏宝玺：古希天子 （重十一）
鑑藏宝玺：八征耄念之宝（重十一）
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺

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主题:

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参考资料:

收藏着录： 石渠宝笈续编（养心殿），第三册，页1254-1256 收藏着录： 故宫书画录（卷八），第四册，页159 收藏着录： 故宫书画图录，第二十七册，页192-195 参考书目： 1.国立故宫博物院编辑委员会，〈清金廷标画御制用庾信咏画屏风体〉，收入国立故宫博物院编辑委员会编，《界画特展图录》（台北：国立故宫博物院，1986年初版），页63。 内容简介（中文）： 金廷标，字士揆，乌程（浙江吴兴）人，生卒年不详，乾隆朝供奉内廷，善人物花卉，亦工山水。南北朝诗人庾信（513–581）曾作诗吟咏屏风画，乾隆叠庾信原作另赋新诗，并由金廷标依诗意作围屏廿四幅，描绘歌台舞榭、宴饮作乐等主题，画者以工笔界画表现建筑之美，画君王贤臣交欢，表现贤主识才、君臣谐处的理想境界，近人考此画曾置于圆明园内安澜园，祈求抚平钱塘潮患，为帝王关怀社稷的政治图像。(20120714) 内容简介（中文）： 金廷标字士揆，乌程（浙江吴兴）人。善人物，兼工花卉、山水。清高宗南巡，进白描罗汉册，称旨。召入内廷供奉。生卒年不详，作品见于乾隆二十五（一七六○）年至三十二（一七六七）年间。 一绘君王罗致贤臣，上下举杯交欢之景。一绘仕女迎风临池，欲乘舟前去采菱。画中殿宇、长廊、栏杆部分皆用细笔界画，表现建筑端庄严谨之美。色彩之傅染甚为轻淡，虽是工丽之院体画，亦饶清雅之韵味。 内容简介（英文）： A native of Wu-hsing, Chekiang, Chin T’ing-piao was a skilled painter of figure, floral, and landscape subjects. He presented an album of Lohan painted in pai-miao (outline drawing) style to the Ch’ien-lung Emperor when the latter was on an inspection tour of south China, after which the artist was awarded a position in the academy of painting. One leaf depicts a scene in which an emperor invites virtuous officials to a party. The emperor and his officials raise wine cups to celebrate this gathering. The other leaf portrays ladies standing in the wind by a pond; they are about to take a boat to pick water chestnuts. In both paintings, palaces, long corridors, and railings are all drawn with fine brush and ruler. They reveal the neat and rigorous beauty of architecture. The application of color is light; therefore, although these are skillful paintings of the academic school, yet they show elegant taste. 内容简介（英文）： Jin Tingbiao, native to Wucheng (modern Wu-xing, Zhejiang), served the Qianlong court (1736-1795), excelling at figure and bird-and-flower subjects and also good at landscapes. Yu Xin (513-581) once wrote a poem on a screen painting. Later the Qianlong Emperor composed a new poem based on Yu’s original, and Jin Tingbiao painted 24 panels on its contents. He depicted scenes of merry-making as well as banqueting, using ruled-line methods to portray beautiful buildings and create an ideal realm of harmony between a ruler and his officials. It is believed that this work was once displayed at the Anlan Garden at the Old Summer Palace to invoke relief from tidal flooding at Qiantang, thus forming a political picture of imperial concern for the land.(20120714)