书体:

色彩:

浅设色

装裱形式:

卷

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：乐寿堂鑑藏宝
鑑藏宝玺：古希天子
鑑藏宝玺：寿
鑑藏宝玺：八征耄念之宝
收传印记：天籁阁
收传印记：寄敖
收传印记：项墨林鑑赏法书名画
收传印记：子孙世昌
收传印记：项墨林父祕笈之印
收传印记：项墨林鑑赏章
收传印记：退密
收传印记：神
收传印记：品
收传印记：项叔子
收传印记：神游心赏
收传印记：项子京家珍藏

题跋资料:

题跋类别：作者款识；作者：戴嵩；题跋位置：本幅；款识：臣戴嵩进；书体：楷书；全文：

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：乾隆御题；书体：行书；全文：（乾隆御题。诗文不录。）印记：干、隆

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：辛丑冬再题；书体：行书；全文：（乾隆辛丑再题。诗文不录。）

题跋类别：题跋；作者：清高宗隔水二三希堂再识；书体：行书；全文：按广川画跋举画录谓。牛与牧童点晴圜明。对照见形容着目中。牛与童子之形大小可知。眸子点墨不过脱壳。安能作人牛形云云。其意以为画录所云。似指牛目中画童子形。童子目中画牛形。如是则画录未为失。而画跋乃诚失之远矣。盖画录所云。乃谓牧童与牛。彼此有相顾之情。见于目中耳。岂谓目中画牛与童子之形哉。向题毛益牧牛图。有脱壳。安能容对照之句。引而未发。兹故申而论之。三希堂再识。印记：古稀天子之宝、犹日孜孜

主题:

主要主题：走兽牛二牛相斗

技法:

参考资料:

收藏着录： 盛京故宫书画录（卷一），第一册，页23 收藏着录： 故宫书画录（卷八），第四册，页173 收藏着录： 故宫书画图录，第十五册，页85-86 内容简介（中文）： 戴嵩（约西元八世纪）最初学画时，以韩滉为师。画牛有青出于蓝的声誉，又擅长于农家风景。他的弟弟戴峄也以画牛而闻名。画两牛相斗，一头牛用角觝触，另一牛却旋转着身子，好像虽败而欲再迎战。依「事物纪原」（明高承撰），斗牛之俗始于秦。此幅画牛，身驱颇为健壮，大有蛮劲足以力仆万人之慨。从其画风观之，此作或属明中期以前辗转流传的摹本。 内容简介（英文）： Tai Sung began his studies of painting under the artist Han Huang (723-787). Tai was thus able to excel at depicting the subtleties of the features of oxen. Tai also excelled at depicting the scenery of rustic life. Tai Sung and his younger brother (Tai I) achieved fame as experts in ox painting.This painting portrays two oxen engaged in battle. One, with head raised, seeks to escape, while the other ferociously charges, ready to gorge its opponent. No setting is provided in the painting, making the oxen appear as if ready to leap from the surface. According to the Ming dynasty (1368-1644) encyclopedia by Kao Ch'eng, The Origin of Things (Shih-wu chi-yüan), the custom of allowing two oxen to engage in a fight dates back to the Ch'in dynasty (255-206 BC). The oxen in this painting appear particularly powerful.Judging from the style of this work, it appears to be a copy dating to sometime before the middle of the Ming dynasty.