书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编

题跋资料:

题跋类别：作者款识；作者：郎世宁；题跋位置：本幅；款识：郎世宁敬绘；书体：楷书；全文： 印记：恭画

主题:

主要主题：花草月季　玫瑰　蔷薇 主要主题：翎毛鹤四只；次要主题：花草鸢尾 

技法:

工笔 皴法 苔点 

参考资料:

收藏着录： 石渠宝笈三编（宁寿宫），第七册，页3472 收藏着录： 故宫书画录（卷五），第三册，页574 收藏着录： 故宫书画图录，第十四册，页45-46 参考书目： 1.王耀庭、陈韵如，〈清郎世宁画花阴双鹤〉，收入王耀庭主编，《新视界 : 郎世宁与清宫西洋风》（台北：国立故宫博物院，2007年初版），页88-89。2.韩北新，〈郎世宁绘画系年(五)〉，《故宫文物月刊》，第71期（1989年2月），页72。 内容简介（中文）： 郎世宁（西元一六八八－一七六六年），意大利人。十九岁时，入天主教耶稣会为修士。曾学习西画、建筑。二十七岁来华，以擅长绘事，服务康熙、雍正、乾隆三朝的宫廷。他的画法于中国传统中加入西洋光影透视法以及西画颜料，画面色彩秾艳，加以西洋的写实功夫，使形象逼肖。此幅花阴双鹤正可说明这种特点，给人栩栩如生的感受。 内容简介（中文）： 在粉色蔷薇盛开的一角，立有两只丹顶鹤。一只正在回首理毛，另一只则略微回首，似乎正要看顾着两只尚未有羽毛的雏鹤。描绘得栩栩如生的鹤羽，不仅有毛羽细节也有光泽效果，这样的光泽处理特质，也同样表现于画中植物，不论蔷薇、鸢尾花皆有细腻描绘。此画所描写的雏鹤并非常见的绘画题材，乾隆皇帝曾有诗文描写雏鹤提到「鹤雏才出壳，便具凌云概」，画中雏鹤站立挺直的姿态或许可为呼应。 内容简介（英文）： On a gentle slope where rose bushes bloom are two pairs of red-crested cranes, one adult and the other chicks. An adult stands on one leg and careens its neck to preen its feathers while the other looks back and down at the two chicks who have yet to molt, as if responding to and taking care of them. The rendering of the cranes’ feathers is very realistic and true to life, not just in the details but also the glossy luster. This treatment of sheen further characterizes the plants shown here, too, with the rose and iris blossoms rendered with equal attention to detail. The theme of crane chicks was not previously common in Chinese painting, but the Ch’ien-lung Emperor (r. 1736-1795) once wrote a verse on the subject: “Not until crane chicks come out of their shells, can they thus reach to the skies.” Perhaps the upright position of the chicks in this painting was meant to echo the emperor’s sentiments. 内容简介（英文）： Lang Shih-ning, born Giuseppe Castiglione, was a native of Milan, Italy. At the age of 19, he entered the Jesuit order as a novitiate. He became not only learned in painting, but also architecture. At 27, he traveled to China as a missionary. Since he specialized in painting, he came to serve the court under three emperors. His distinct style combined traditional Chinese materials with Western techniques, such as perspective and modeling, to represent Chinese subjects. His opulent colors and strong Western realism created for the lifelike effect seen in his works. The volumetric appearance of the pair of cranes among flowers here is testimony to his style, resulting in the lifelike feeling as if the subjects are before one's eyes.