【作品基本信息】
| 作者 | 明宣宗朱瞻基 |
| 品名 | 画花下狸奴图轴 |
| 朝代 | 明朝 |
| 文件大小 | 18.02MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 1823×3295 |
| 尺寸（CM） | 15.43×27.89 |
| 创作时间 | 明宣宗宣德元年（1426） |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 绘画 |
| 品名 | 明宣宗画花下狸奴图轴 Kittens Playing Beneath Flowers |
| 分类 | 绘画 |
| 作者 | 朱瞻基;明宣宗;Emperor Xuanzong;Ming Dynasty |
| 创作时间 | 明宣宗宣德元年（1426） |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 41.5×39.3 |
| 诗塘 | 31×39.3 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 纸 |
| 诗塘 | 纸 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 作者款识 | 朱瞻基 | 本幅 | 宣德丙午（公元一四二六年）制 | 楷书 | |
| 印记： 御府图书 |
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| 题跋 | 清高宗 | 本幅 | 戊戌新秋月御题 | 行书 | 湖石秋花庭院闲。一双狸奴据茵跧。不为登局乱棊盘。何弗捕鼠坡翁讪。分明寓意于其间。而乃陈郭拒谠言。责人则易责已难。复议此者那能删。戊戌（公元一七七八年）新秋月御题。 |
| 印记： 几暇怡情、得佳趣 |
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| 题跋 | 清高宗 | 诗塘 | 行书 | 神肖乌圆。 | |
| 印记： 乾隆御笔 |
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印记资料
| 【印记类别】 | 【印记】 |
| 鉴藏宝玺 | 乾隆御览之宝 |
| 鉴藏宝玺 | 宣统御览之宝 |
| 鉴藏宝玺 | 嘉庆御览之宝 |
| 鉴藏宝玺 | 养心殿鉴藏宝 |
| 鉴藏宝玺 | 古希天子 |
| 鉴藏宝玺 | 八征耄念之宝 |
| 鉴藏宝玺 | 石渠继鉴 |
| 鉴藏宝玺 | 乾隆鉴赏 |
| 鉴藏宝玺 | 石渠宝笈 |
| 鉴藏宝玺 | 三希堂精鉴玺 |
| 鉴藏宝玺 | 宜子孙 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 次要主题 | 山水 | 奇石 | |
| 次要主题 | 花草 | 菊 | |
| 主要主题 | 走兽 | 猫（狸奴） | 狸奴二只 |
技法
| 【技法】 | 【技法细目】 |
| 工笔 | |
| 没骨 | |
| 双钩 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 石渠宝笈初编（养心殿），上册，页648 |
| 收藏着录 | 故宫书画录（卷五），第三册，页307 |
| 收藏着录 | 故宫书画图录，第六册，页139-140 |
| 内容简介（中文） | 宣宗（公元一三九九─一四三五年）姓朱，名瞻基。明成祖长孙，明代第五位皇帝，年号宣德。宣宗雅尚词翰绘事，于书画之作，随意自然，往往与宣和争胜。 此图绘文石、野菊，二狸奴戏于石下。画家先填染底色，再钩描皴擦毛发及斑纹。太湖石先以笔勾勒轮廓，再以干笔皴擦石面，画菊则以细笔勾勒敷彩。此幅画猫颇有追彷宣和画院画家李迪之风貌，具有清新优雅的气息。 |
| 内容简介（英文） | Emperor Hsuan-tsung, whose personal name was Chu Chan-chi, was the grandson of Emperor Ch’eng-tzu (r.1403-1424). The fifth emperor of the Ming dynasty, he ruled from 1425 to 1435 under the reign name Hsuan-te. He enjoyed writing poems and painting, and he was able to produce free and natural works. He can thus be compared to Emperor Hui-tsung (r.1101-1125), the famous Northern Sung emperor who was a renowned artist and calligrapher. This painting is a depiction of two cats playing by a T’ai- hu rock and wild chrysanthemums. In painting the cats, the artist first applied a wash for the body then painted the stripes and the texture of the fur. For the T’ai-hu rock, the method was reversed, first outlining the contour of the rock and then using a dry brush to paint the rock surfaces. The artist used a fine brush to outline and color the chrysanthemums. This elegant, refined painting imitates the style of Li Ti, a Northern Sung Imperial Painting Academy artist. |
| 内容简介（中文） | 根据款识，此图成于明宣宗宣德元年（公元一四二六年），岁次丙午，描绘两只在湖石、野菊下面舔爪歇息的猫儿。画家以没骨法处理猫儿的身躯，先填染底色，再钩描皴擦毛发及斑纹，以营造毛茸茸的质感。湖石先以粗细不一的线条勾勒轮廓，再以干笔皴擦石面，盛开的菊花则以细笔勾勒敷彩。此幅画猫颇有追仿北宋(九六０－一一二七)徽宗宣和画院的风貌，具有清新优雅的气息。(20120407) |
| 内容简介（英文） | Judging from the signature, this work was done in the first year of Xuanzong’s reign (1426; bingwu). It depicts 2 cats, one at rest and the other licking its paws, a garden rock and chrysanthemums nearby. The artist used “boneless” washes to render their bodies. First a background wash was applied and then outline washes for the stripes and fur, conveying their soft and furry quality. For the garden rock, irregular outlines were applied and then texture strokes with a dry brush for the surface. As for the chrysanthemums, first fine brushwork was employed for the outlines, which were then filled with colors. This painting closely imitates the Painting Academy manner of Emperor Huizong in the Northern Song (960-1127), having a pure and refined style.(20120407) |
【作品展示】
