书体:

色彩:

水墨

装裱形式:

卷

创作时间:

清高宗乾隆十一年（1746）

文字类型:

汉文

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：宁寿宫续入石渠宝笈
鑑藏宝玺：乐寿堂鑑藏宝
鑑藏宝玺：乾隆御玩
鑑藏宝玺：内府图书
鑑藏宝玺：保泰
鑑藏宝玺：内府书画之宝
鑑藏宝玺：乾隆御赏之宝
鑑藏宝玺：嘉庆御览之宝

题跋资料:

题跋类别：作者款识；作者：丁观鹏；题跋位置：本幅；款识：乾隆十一年（西元一七四六年）花朝月。臣丁观鹏奉敕恭临李公麟击毬图。；书体：楷书；全文： 印记：臣丁观鹏、恭画

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：无；书体：行书；全文：唐明皇击鞠图印记：席上珍、乾隆御赏、几暇怡情

主题:

次要主题：人物官员（臣） 主要主题：经史‧故事 唐明皇击鞠图；其他主题：器用旗 主要主题：人物后妃 ；次要主题：人物仕女 ；其他主题：器用球马球；马球球具；次要主题：走兽马 ；次要主题：建筑 球门二主要主题：人物帝王唐明皇；次要主题：人物军士 ；次要主题：人物侍从（侍女、童仆） 

技法:

白描 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈续编（宁寿宫），第六册，页3026 收藏着录： 故宫书画录（卷四），第二册，页267-268 收藏着录： 故宫书画图录，第二十一册，页47-50 参考书目： 1.刘芳如，〈丁观鹏明皇击鞠图〉，收入刘芳如、张华芝主编，《群芳谱 — 女性的形象与才艺》（台北：国立故宫博物院，2003年初版一刷），页38- 39。2.林柏亭、张华芝，〈清丁观鹏画唐明皇击鞠图〉，收入林柏亭、张华芝编，《画马名品特展图录》（台北：国立故宫博物院，1990年元月初版），页105。 内容简介（中文）： 丁观鹏，生卒年里均不详。乾隆年间，为内廷供奉，善画道释人物。其画沿袭焦秉贞、冷枚遗绪，笔墨精微，着色秾艳。人物开脸晕染，兼采西洋光影透视法，故形象显突，神情宛活，可视为清院画人物之典型作品。本幅以白描法画明皇率嫔妃宦臣等共十六人击鞠为戏。衣纹多以李公麟之高古游丝描刻绘，间或可见钉头鼠尾描。笔法灵动，又掺配西画技法，更显生动。案。击鞠为唐代宫廷内极为流行之戏，规则近今日之曲棍球。 内容简介（中文）： 丁观鹏（约1708－1771后）是顺天人。雍正四年（1726）进入宫廷任职，乾隆六年（1741）被擢升为「一等画画人」。善长白描人物、道释与肖像。本幅属水墨白描画法，描写唐明皇骑马击鞠为戏，随侍同玩者有番族、嫔妃、太监等，共九人，画幅的左右两侧，还设置了毬门与两名守门员。画中人物的衣纹，大抵是沿用李公麟（1040－1106）的「高古游丝描」来刻绘，间或亦掺用「钉头鼠尾描」的笔法，衣纹转折凹处及人物脸部，均略加淡墨晕开，使更富于立体效果。击鞠为唐代宫廷极为流行的游艺活动，打球的人骑在马上，用球杖击一枚皮制实心球，规则有点像今日的曲棍球。清初吴其贞于《书画记》一书，曾经着录〈李龙眠击球图〉的内容：「长不过三尺，气色颇佳，写明皇贵妃及高力士诸内侍十六人，身长五六寸各自乘马手执一长柄杓子争击一小球，人马结成一堆，群目皆顾于球之上，……。」若引本幅与之比对，可谓完全相符，故推断丁观鹏此作，应是〈李公麟击毬图〉的一件临仿本。 内容简介（中文）： 丁观鹏，生卒年不详，乾隆（西元一七三六－一七九五年）朝供奉南薰殿，顺天（今北京）人。善道释人物与山水画，初学丁云鹏，后兼融西方光影透视法，为清代院画家受西洋影响的代表人物。「击鞠」为流行于唐代宫廷的活动，游戏者乘马以杆击球入门论输赢。本幅以白描笔法画明皇率嫔妃宦臣等共十六人击鞠为戏，以李公麟高古游丝描绘写人物衣纹，又掺配西画技法，益显生动。(20110405) 内容简介（英文）： Ding Guanpeng (native of Shuntian [modern Beijing]) was a painter at the Nanxun Hall under the Qianlong Emperor (r. 1736-1795). He excelled at Buddhist and Taoist figures and landscapes, early studying the style of Ding Yunpeng and later adding Western chiaroscuro and perspective, becoming representative of Western influence at the Qing Painting Academy. The game jiju, similar to polo, was popular in the Tang dynasty. Players rode horses and hit a ball into a goal. This is a baimiao (ink outline) depiction of Emperor Minghuang with palace ladies and attendants (16 in all) playing jiju. The drapery folds follow Li Gonglin’s ancient silk-line method, to which Ding has combined Western painting techniques to make them more lifelike.(20110405) 内容简介（英文）： Ting Kuan-p'eng, a native of Hsün-t'ien, entered the Ch’ing court in 1726 and in 1741 was praised as the “Painter among Painters”. He excelled at rendering figures in pai-miao monochrome ink, Buddhist and Taoist images, and portraits. This work belongs to the monochrome pai-miao manner of painting, showing the T'ang emperor Ming-huang on horseback playing a game of polo. Among those also involved in the game are non-Chinese figures, court ladies, and eunuchs for a total of nine. On either side of the painting are goals with a pair of keepers. The drapery lines generally follow the “lofty archaic gossamer” method of Li Kung-lin (1040-1106) but also involve “nail-head and rat-tail” brushwork. The shaded areas and turns of the drapery along with the faces of the figures are all slightly washed with light ink, giving them a greater sense of volume. Polo was a very popular pastime at the T'ang dynasty (618-907) court. Players would ride on horseback, using a mallet to strike a solid ball made of leather with rules similar to those of field hockey. Wu Ch'i-chen of the early Ch'ing once catalogued a painting entitled “Playing Polo” by Li Lung-mien [Kung-lin] in his Record of Painting and Calligraphy with the following description, “A marvelous atmosphere is achieved in less than the expanse of three Chinese feet, showing the sixteen figures of Ming-huang, his ladies, and high scholars and officials. Though only about five or six Chinese inches in height, nothing is lacking as they ride horses and hold long mallets to compete for the small ball. Figures and horses fuse lump together into a group as they focus all their attention on the ball…” A comparison of this painting and record reveals an almost perfect match, suggesting that Ting Kuan-p'eng was imitating Playing Polo by Li Kung-lin. In fact, Ting in his signature dated to 1747, states that this work was copied after a Li Kung-lin painting by that title. 内容简介（英文）： Ting Kuan-p'eng was an excellent figure painter, especially of Buddhist and Taoist subjects. His painting followed the paths opened up by Chiao Ping-chen and Leng Mei. The faces of his figures are modeled with brushlines and shades of color; western methods of perspective and chiaroscuro are added. His work presents the classic model of Ch'ing court figure painting. This painting is a pai-miao ink-outline depiction of Emperor Ming-huang leading the palace ladies and attendants, a total of sixteen people, in a game of chi-chu, a popular sport at the T'ang court whose rules approximated those of modern-day polo. The clothing folds in general follow the high antiquity "spring-silkworm-spitting-silk brushstrokes" of Li Kung-lin. In places one sees "nail-head rat-tail strokes." The brushwork is lively, and a sense of vitality is achieved by the western methods of painting that are added.