歡迎線上逛故宮,本院官網典藏資源項下,主題網站「大汗的世紀:蒙元時代的書畫藝術( Age of Great Khan: Painting and Calligraphy in the Mongol Yuan Dynasty)」,讓我們一起來了解元朝多種文化並存的時代與藝術。
馬可波羅單元中介紹一件藏品〈飲膳正要〉,為主張預防重於治療、強調食補功效的古代醫學典籍,是不是與今日的觀念很相符呢?
🙋♀️🙋🙋♂️
前往網址:
Website:
https://www.npm.gov.tw/Article.aspx?sNo=03009241
元 忽思慧撰
飲膳正要
明景泰七年內府刊本
Yuan dynasty Hu Sihui (fl. first half of 14th c.)
Proper Habits of Food and Drink
Ming dynasty court imprint of 1456
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相關訊息:
展覽回顧 壽而康—院藏醫藥圖書文物特展
https://www.npm.gov.tw/zh-TW/Article.aspx?sNo=04010618
同時也有6部Youtube影片,追蹤數超過3萬的網紅National Palace Museum國立故宮博物院,也在其Youtube影片中提到,In Adventures in the NPM: Lost in the Art of Landscape Painting, audiences are brought into the world of Ming dynasty painter Tang Yin’s Fishing in Se...
「ming dynasty painting」的推薦目錄:
- 關於ming dynasty painting 在 國立故宮博物院 National Palace Museum Facebook 的精選貼文
- 關於ming dynasty painting 在 國立故宮博物院 National Palace Museum Facebook 的最佳貼文
- 關於ming dynasty painting 在 國立故宮博物院 National Palace Museum Facebook 的精選貼文
- 關於ming dynasty painting 在 National Palace Museum國立故宮博物院 Youtube 的精選貼文
- 關於ming dynasty painting 在 National Palace Museum國立故宮博物院 Youtube 的精選貼文
- 關於ming dynasty painting 在 National Palace Museum國立故宮博物院 Youtube 的最佳解答
- 關於ming dynasty painting 在 Ming Dynasty Chinese Art - Pinterest 的評價
- 關於ming dynasty painting 在 Artist Chen Hongshou (1598 - 1652) | Ming Dynasty Painter 的評價
ming dynasty painting 在 國立故宮博物院 National Palace Museum Facebook 的最佳貼文
《故宮學術季刊》第三十八卷第三期 出刊!
◎各卷期全文與摘要:https://www.npm.gov.tw/Article.aspx?sNo=04001543 (自38卷3期起將提供全彩圖論文電子檔)
◎本刊偶數月15日截稿,並全年接受海內外學者投稿,歡迎各界惠賜關於藝術文物、圖書文獻之藝術史、歷史、考古、科技、古籍版本等學術論文。稿約及體例請參見:https://www.npm.gov.tw/Article.aspx?sNo=04001544
第三十八卷第三期
林麗江 解構與重建:明仇英《臨宋元六景》圖冊研究
連冕、李亮 米萬鍾史事:生年卒月、東林黨爭與廠庫政務
朱龍興 崑崙與黑坊:東亞圖文中的黑人形象
胡櫨文 三羊足註九三文──乾隆皇帝〈開泰說〉及相關作品研究
National Palace Museum Research Quarterly
Volume 38, Number 3
Lin, Li-chiang
Deconstruct and Reconstruct: A Study of Qiu Ying's Painting Album of Six Scenic Views in Song and Yuan Styles
Lian, Mian Li, Liang
New Evidence Concerning Mi Wanzhong's Life in the Late Ming Dynasty: His Relation with Donglin Factionalism and His Notes on Factories, Workshops, and Storehouses of the Ministry of Works
Chu, Lung-Hsing
Kunlun and Kuronbo: The Image of Blacks in East Asia
Hu, Lu-Wen
Three Sheep to Explain "Nine in the Third Line": A Study of the Qianlong Emperor's "Discourse on the Auspicious Start" and Related Works
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ming dynasty painting 在 國立故宮博物院 National Palace Museum Facebook 的精選貼文
權力難以捉摸,但往往會巧妙附身於許多視覺形象上,發揮強大的作用。
畫像中貴為一國之尊的帝后,在當時都擁有強大的權力,他們的肖像要如何製作,才能彰顯不同於一般人的高貴身份呢?又如何讓觀者辨識出,他們就是掌握「權力」的領導者。我們來看看這件唐太宗的立像。
【唐太宗立像】
全圖近乎三公尺,仰頭才能瞻望唐太宗(598-649)面容,巨大的身形創造出令人難以忽視的威儀。唐太宗袍服上的團龍花紋,吻部已出現兩個鼻孔,較接近明代造型。推測此軸與其他同樣尺寸的帝王像、功臣像,為明代祭祀歷代帝王賢臣的系列作品,曾一起懸掛,以供敬仰。
【Standing Portrait of Emperor Taizong of the Tang】
This painting nearly three meters tall shows the proud standing image of the Tang dynasty emperor Taizong (598-649). The enormous figure creates an imposing presence and power that is not easily overlooked. The dragons in the decorative circles on Taizong's robes, however, have flaring nostrils on the snout in a manner that closely resembles those found later in the Ming dynasty (1368-1644). Judging from this and a similarity in terms of the large size of portraits for emperors and meritorious officials, Taizong's portrait here may have once belonged to a series of paintings done in the Ming dynasty to commemorate rulers and officials through the ages that was once displayed for veneration.
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權力的形狀—南薫殿帝后像特展(展期 2021/01/01~04/06)
陳列室:202, 208, 212【北部院區】第一展覽區
線上看展:https://theme.npm.edu.tw/exh110/FacetsofAuthority/
Facets of Authority: A Special Exhibition of Imperial Portraits from the Nanxun Hall
Dates: 01 JAN 2021~06 APR 2021
Gallery: 202, 208, 212 (Northern Branch) Exhibition Area I
https://www.npm.gov.tw/en/Article.aspx?sNo=04011438
ming dynasty painting 在 National Palace Museum國立故宮博物院 Youtube 的精選貼文
In Adventures in the NPM: Lost in the Art of Landscape Painting, audiences are brought into the world of Ming dynasty painter Tang Yin’s Fishing in Seclusion among Steams and Mountains. The lively adventure is guided by the lovable trio, Pillow Child, Jade Pi Hsieh, and Jade Duck, who are on a journey to help recover a memory. Through skilled animation techniques, emerges the vivid world of Chinese landscape painting and calligraphy, accentuated by sceneries of scarlet maple leaves and classic tunes revealing melodies hidden within the painting.
ming dynasty painting 在 National Palace Museum國立故宮博物院 Youtube 的精選貼文
本片以唐代〈明皇幸蜀圖〉、北宋〈谿山行旅圖〉、南宋〈巖關古寺〉及元代〈鵲華秋色圖〉四幅院藏國寶畫作選件,呈現中國山水畫講求可行、可望、可遊、可居之意境,並演繹出山水畫的歷代風格演變。
開場的飛鳥所銜的小石頭,象徵中國山水畫家擅用的石青、石綠礦物性顏料,這顆礦石喚起了大地,也將片中世界妝點了繽紛色彩,而動畫主角亦幻化成各種自然物象,悠遊穿梭於古代山水場景間。
This film is based on four Chinese painting masterpieces in the National Palace Museum’s collection: Emperor Ming-huang's Journey to Shu (Tang dynasty), Traveler’s Among Mountain’s and Streams (Northern Song dynasty), Ancient Temple in a Mountain Pass (Southern Song dynasty), Autumn Colors on the Ch'iao and Hua Mountains (Yuan dynasty). The film explores Chinese landscape painting’s capacity to be ambled within, gazed at, and abided in.
At the animation’s opening, a bird holds in its mouth a tiny azurite stone, which is typically found in pigments used by Chinese landscape painters. The stone awakens the earth and gives its creatures color.
#筆墨行旅 #故宮 #國寶
#書畫 #山水
ming dynasty painting 在 National Palace Museum國立故宮博物院 Youtube 的最佳解答
明人畫出警圖
絹本 設色畫
縱:92.1公分 橫:2601.3公分
明人畫入蹕圖
絹本 設色畫
縱:92.1公分 橫:3003.6公分
這支盛大的皇家謁陵隊伍,由北京城得勝門出發,直至皇帝謁陵的目的地,離京城四十五公里外的天壽山,這裡是明朝歷代皇帝的陵寢區。
「出警圖」與「入蹕圖」雖是各自分開的二幅長卷,但是所繪的卻同是掃墓、巡視的過程,因而通常被合稱為「出警入蹕圖」。
畫家將皇室謁陵的整個時空歷程出發→抵達→返回,濃縮於二幅長卷之中。傳統觀賞「出警圖」是由右往左;「入蹕圖」則由左往右。「出警圖」繪皇帝騎馬,由陸路出京,「入蹕圖」畫皇帝坐船,走水路還宮。這兩幅圖卷不但是國立故宮博物院所收藏手卷畫作中最長的兩幅(「出警圖」的橫長有26公尺,「入蹕圖」更是超過30公尺),人物眾多,場面宏偉,更是歷代繪畫作品中少見的超級鉅作。
這二幅作品,均未署名作者姓名。但可以確定的是,得出動許多宮廷畫師的合力創作,才能完成這二幅佈局精采生動的鉅作。
Anonymous, Ming dynasty
Departure Herald Imperial Procession Leaving the Palace
Handscroll, ink and color on silk, 92.1 x 2601.3 cm
Anonymous, Ming dynasty
Return Clearing Imperial Procession Returning to the Palace
Handscroll, ink and color on silk, 92.1 x 3003.6 cm
In this handscroll is a great imperial procession making its way to pay respects at the imperial tombs. Departing from the Te-sheng ("Victory") Gate of the Peking city wall, the artists here depicted shops along the way and the appearance of ceremonial guards to the final destination of the imperial tombs, the final resting place for Ming dynasty emperors 45 kilometers from the capital at Mt. T'ien-shou.
"Departure Herald" is actually accompanied by another long handscroll painting entitled "Return Clearing". That work depicts the process of the tomb sweeping and inspection tour. Usually considered as a pair, they are collectively known as "Departure Herald and Return Clearing".
Encapsulated into both scrolls, the artists depicted the entire event over time and space from the departure, arrival at the destination, and return to the capital. The traditional means of viewing "Departure Herald" is from right to left, whereas "Return Clearing" is from left to right. "Departure Herald" represents the emperor riding a horse, taking land route from the capital, while in "Return Clearing", he is shown riding on a boat, taking a water route back to the palace.
These two scrolls are not only the two longest handscrolls in the collection of the National Palace Museum ("Departure Herald" measuring 26 meters and "Return Clearing" more than 30 meters in length), they represent a rare, enormous effort in terms of the number of figures and majesty of the scenery seen among surviving works of Chinese painting.
Neither of these two works were signed or sealed by the artists who painted them. However, judging from the style, content, and great effort, it most likely took a cooperative effort of many court artists in order to complete these two great masterpieces of imperial Chinese painting.
ming dynasty painting 在 Artist Chen Hongshou (1598 - 1652) | Ming Dynasty Painter 的推薦與評價
Chen Hongshou was born in Zhuji, Zhejiang province in 1598, died 1652. during the Ming dynasty. His courtesy name was Zhanghou, ... ... <看更多>
ming dynasty painting 在 Ming Dynasty Chinese Art - Pinterest 的推薦與評價
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