台北故宮–以動物為題展出中國繪畫

編號

品名

材質

分級

1

宋 錢選 文殊洗象圖紙本

「洗象」又稱「掃象」。禪宗主張破除對「名相」的執著，謂之「掃相」；因「相」、「象」諧音，遂衍生出許多以「掃象」或「洗象」為題的畫作。畫中胡服信眾神情謹慎莊重，手持掃帚、棕刷及華美錦帕刷拭白象，地上另有金色水盆與水壺備用。本作舊傳為元代畫家錢選（1239-1301）手筆，設色淡雅，然推測應為明代後期之摹本。

Manjusri and Washing the Elephant Qian Xuan, Song dynasty

Paper

Washing the Elephant (Xixiang) is also known as Sweeping the Elephant (Saoxiang). Chan Buddhism

advocates breaking one’s attachment to “phenomenal appearances” (mingxiang), a practice referred to as “sweeping

away appearances” (saoxiang). Since the character for “appearance” (xiang 相) is homophonous with “elephant” (xiang 象), this pun inspired a genre of paintings depicting the washing or sweeping of elephants.

In this work, devotees in foreign attire appear solemn and reverent. Holding a broom, a palm-fiber brush, and an ornate brocade cloth, they cleanse the white elephant, while a golden basin and ewer stand ready on the ground. Although traditionally attributed to the Yuan dynasty painter Qian Xuan (1239–1301) and featuring elegant, pale

coloration, this scroll is likely a copy from the late Ming dynasty.

2

清 張廷彥 青女素娥紙本

根據題籤，乾隆朝（1736-1795）宮廷畫家張廷彥描繪的是霜雪之神青女以及廣寒宮中的嫦娥。桂樹下的兩位女仙衣著相仿，乍看如優游於園林中的仕女，執扇者應為青女，懷抱白兔者則為嫦娥。有關月宮玉兔的傳說多樣，但畫家並未採用搗藥的姿態，而像是寵物般馴順地陪伴著月中嫦娥。

Goddesses Qingnu and Chang’e Zhang Tingyan, Qing dynasty Paper

According to the title label, the Qiing court painter Zhang Tingyan has portrayed Qingnu, the Goddess of Frost and Snow, alongside Chang’e of the Guanghan Palace. Standing beneath an osmanthus tree, the two goddesses are dressed similarly, appearing at first glance like elegant ladies enjoying a garden stroll. The figure holding a fan is

identified as Qingnu, while the one holding a white rabbit is Chang’e. Diverging from the common iconography of the Jade Rabbit pounding the elixir of immortality, the artist depicts the rabbit here as a docile pet, gently

accompanying its mistress.

3

清 程志道 摹丁雲鵬羅漢紙本

畫中十八羅漢伴以不同坐騎浩蕩前行。其中既有外形色澤奇異的虛構神獸，亦穿插了象、鹿、山羊等現實物種。這類動物多因諧音而寓意吉祥——如「鹿」通「祿」、「羊」通「祥」——故能化身瑞獸，成為與羅漢親密相伴的坐騎。作者程志道（生卒年不詳）為清代宮廷畫家，此圖應是仿自宮中收藏的明代丁雲鵬（1547-1628 以後）描繪的羅漢畫卷。

Imitation of Ding Yunpeng’s “Lohan”

Cheng Zhidao, Qing dynasty

Paper

This painting depicts the Eighteen Luohans advancing in a majestic procession, each astride a different mount. The group features not only mythical beasts of exotic forms and hues but is also interspersed with real-world animals such as elephants, deer, and goats. These creatures are regarded as auspicious due to phonetic puns—”deer” (lu 鹿)

is homophonous with “emolument” (lu 祿), and “goat” (yang 羊) with “auspiciousness” (xiang 祥)—thus allowing them to serve as intimate companions to the Luohans.

Cheng Zhidao (dates unknown) was a Qing court painter. This work is believed to be modeled after a scroll by

the Ming master Ding Yunpeng (1547–after 1628) that was held in the imperial collection.

4

唐人 春郊遊騎圖絹本

圖中遊騎七人正行經鵲鳥棲停的山林瀑澗邊。畫中馬匹雖毛色多樣，體型卻頗一致。畫家為突顯人物身分，特別讓主角騎乘一行中裝飾最華貴的駿馬——絡頭下綴紅纓、精美障泥，且鞍後附有蹀躞帶。這些繁複的馬具，與前方嚮導及後方四名持弓箭、毬杖、攜琴、背酒的隨從所騎的簡裝馬匹，清楚對比，亦可想像馬匹飼育時各有不同待遇。

Traveling on Horseback on a Spring Outing Anonymous, Tang dynasty

Silk

The painting depicts seven riders on an excursion, passing a mountain stream and waterfall where magpies rest in the trees. While the horses vary in coat color, their physical builds are remarkably consistent. To distinguish status, the artist portrays the protagonist on the most lavishly caparisoned steed of the group—featuring red tassels on the bridle, exquisite mudguards, and a diexie belt (suspension belt) attached behind the saddle. These intricate trappings contrast sharply with the modest tack of the horses ridden by the two guides in front and the four attendants behind—carrying a bow and arrows, a polo mallet, a zither, and wine—implying a hierarchy in how these

horses were reared and maintained.

5

五代南唐周文矩仕女圖絹本

桐樹下讀書的仕女腳邊，伴著一隻長毛金眼白貓，頭頂有一圈圓形黑毛，尾巴亦為黑色。根據《相貓經》的記載，這種花色的貓稱為「掛印拖槍」，貴氣吉祥，是上乘的寵物貓。牠與衣飾考究的女主人，一起生活在精緻華麗的園苑中。頸部並未繫繩，可自由活動，看起來甚受寵溺。牠微仰著頭，似乎正打算撲向欄杆旁的蝴蝶或是枝頭鵲鳥。

A Lady

Zhou Wenju, Southern Tang during Five dynasties period Silk

At the feet of a lady reading beneath a paulownia tree sits a long-haired, golden-eyed white cat. Distinguished by a round black spot on its crown and a black tail, this coloration is identified in the Classic of Cat Physiognomy as the “Hanging Seal, Dragging Spear.” Symbolizing nobility, such cats were prized as superior pets. This cat lives with its elegantly attired mistress in an exquisite garden. Unrestrained by any tether around its neck, it roams freely and appears deeply pampered. With its head slightly raised, it seems poised to pounce—perhaps targeting a butterfly near

the balustrade or a magpie perched on a branch..

6

宋 李唐 乳牛圖絹本

重要古物

牧童俯臥牛背，閒適地勾起雙腳，任由母牛馱行；他促狹地斜睨著小牛，似在炫耀自己更受母牛寵愛。頂著稚角的小犢快步緊隨母親，昂首望向牧童，神情略顯困惑。母牛雙眼圓睜，精神抖擻地甩尾前行，嘴角若帶笑意，彷彿早已習慣牧童與幼犢間的爭風吃醋。此作生動捕捉了水牛與牧童間的親密與默契，為絕妙的南宋風俗佳作。

Oxen

Li Tang, Song dynasty

silk

The herdboy lies prone on the cow’s back, leisurely crossing his legs and letting the mother cow carry him along. He casts a mischievous sidelong glance at the calf, appearing to flaunt his status as the mother’s favorite. The calf, with budding horns, trots closely behind, raising its head to look at the boy with a slightly puzzled expression. The mother cow, bright-eyed and spirited, swishes her tail as she strides forward; a hint of a smile seems to play on her mouth, as if she is long accustomed to this rivalry for affection between the boy and her calf. Vividly capturing the deep rapport between the buffalo and the herdboy, this piece stands as a superb example of Southern Song genre

art.

7

元人 戲嬰圖絹本

此圖延續「開泰圖」的經典圖式──蒙古皮裘裝束的騎羊童子，象徵子孫綿延；九隻山羊具「九陽啟泰」的好兆頭；凌霜不凋的松、竹、梅，代表高潔與旺盛的生命力。掛在梅梢上的鳥籠中若為喜鵲，則具喜上眉梢之意。全畫巧妙將生活中常見的動物，轉化為祥瑞符號，體現了古人寓意於物的獨特巧思。

Children at Play Anonymous, Yuan dynasty Silk

This work follows the classic composition of the Kaitai (Auspicious Beginning) motif: a boy clad in Mongolian fur attire riding a goat, symbolizing the endless continuation of the family line. The nine goats represent the auspicious omen of Jiuyang Qitai (Nine Suns Ushering in Prosperity). The frost-resistant pine, bamboo, and plum signify noble integrity and vigorous vitality. Furthermore, if the birdcage hanging from the plum branch contains a magpie, it serves as a visual pun for “happiness radiating from the brow” (xishang meishao). The painting

ingeniously transforms common animals into auspicious symbols, reflecting the unique way the ancients imbued

objects with metaphorical meaning.

8

五代梁 趙喦 八達春遊圖絹本

國寶

此圖描繪八名貴族騎馬馳騁於宮苑中的情狀。畫面的焦點落在一名舉起馬策的綠袍騎士身上；他騎乘的淡栗色馬匹低著頭，不知為何不繼續大步前奔，似乎干擾了後方尾隨的棕色馬匹，使其扭頭躁動，也引起同行人騎的關注。畫中精壯的駿馬配合騎士們據鐙勒韁的動作，奮蹄揚鬃，充分表現人馬間的熟悉與默契。

此作為限展作品，展期自 1 月 22 日至 3 月 4 日。

Eight Princes on a Spring Excursion

Zhao Yan, Liang during Five dynasties period Silk

This painting depicts eight nobles galloping through an imperial garden. The focal point is a rider in green robes raising his whip. His light chestnut horse lowers its head and, for reasons unknown, hesitates to gallop forward. This appears to disrupt the brown horse trailing behind, causing it to turn its head in agitation and drawing the attention of the fellow riders. The robust steeds—with manes flying and hooves pounding—respond perfectly to the riders bracing against their stirrups and tightening their reins, fully revealing the deep rapport between man and mount.

This is a limited-display work, on view from January 22 to March 4.

9

明 彭年、錢穀 鶴林玉露一則書畫合璧紙本

南宋羅大經（生卒年不詳）《鶴林玉露》中的山居敘述，屢被援引為圖。本件明代手卷由彭年（1505- 1566）書寫，並請錢榖（1505-1578）繪圖。畫家筆下的家園，出現了公雞、母雞與兩隻小雞的形影；此一細節雖未見於文句，卻反映出明代對理想家園的投射：養一窩雞，應是當時人們家居的日常風景。

Helin Yulu

Peng Nian, Qian Gu, Ming dynasty

Paper

Luo Dajing’s (Southern Song dynasty; dates unknown) narrative of mountain living in Helin Yulu (Jade Dew in the Crane Forest) has long been a favored subject for painting. This Ming dynasty handscroll features calligraphy by Peng Nian (1505–1566) and illustrations by Qian Gu (1505–1578).

In his depiction of a tranquil homestead, the artist includes the figures of a rooster, a hen, and two chicks.

Although this detail is absent from the original text, it reflects the Ming dynasty’s projection of an ideal home, where

raising a brood of chickens was an essential part of the daily life.

10

明 程嘉燧 蹇驢山行紙本

古代文學及繪畫作品常將文士騎驢的形象與不得志的苦吟詩人聯繫在一起。選擇以驢代步，反映著生活的貧簡。這開 1639 年的冊頁，為明代晚期著名的詩畫家程嘉燧（1565-1643）所作。他將驢子與馱行的文士形象緊密相接，產生人驢一體的有趣錯覺。這對文士與他們的瘦弱驢子，相伴在寂寥清雅的畫中世界踽踽前行。

Mountain Journey on a Donkey from Album of landscape paintings Cheng Jiasui, Ming dynasty

Paper

Ancient literature and painting frequently link the figure of the donkey-riding scholar with the “bitterly chanting” poet—one who is politically frustrated or unappreciated. Choosing a donkey as a mount signifies a life of humble austerity. In this 1639 album leaf by the celebrated late Ming poet-painter Cheng Jiasui (1565–1643), the artist closely integrates the figures of the donkeys with the riders, creating a humorous visual illusion where man and mount appear to merge. Together, this pair of scholars and their scrawny donkeys wend their way through a painted

world that is at once desolate and elegant.

11

元 趙孟頫 調良圖紙本

一股疾風自身後襲來，將馬頸上的鬃毛以及奚官的長鬚、衣袖，吹得幾乎平行於地面飛動。他們似乎正等待風勢稍歇，因而停佇於原地不前。奚官手中的繩索鬆弛，無意強迫馬匹前進，而像對待朋友一般地在風中回首照應，與馬匹並肩淡然以對。畫幅左側的「子昂」款，即元代文人畫家趙孟頫（1254-1322）的字號。

Training the Horse

Zhao Mengfu, Yuan dynasty

Paper

A strong gust of wind strikes from behind, sending the horse’s mane and the groom’s long beard and sleeves streaming nearly parallel to the ground. Seemingly waiting for the wind to subside, the pair has halted in place. The lead rope in the groom’s hand hangs slack, indicating no intention to force the horse forward. Instead, treating the animal like a friend, he looks back to check on his companion as they stand side-by-side with shared equanimity.

The signature “Zi’ang” on the left refers to the style name of the Yuan dynasty literati painter Zhao Mengfu (1254–

1322).

12

明 尤求 書閣早梅紙本

畫中雙耳挺翹的驢子正馱著文士過橋，鼻部和臀部似有紅纓裝飾，障泥紅底綠邊，十分體面。行囊則由尾隨的小僮揹負，可見這頭驢子應頗受照顧疼愛，主人騎著牠在冬季出行。畫面上方書齋中堆放書卷，園中栽植松竹梅，一人望向空亭，或許正等待騎驢文士來訪。

此畫款題疑偽，似出自李士達（活動於十六世紀末十七世紀初）手筆。

Early Plums by the Pavilion of Calligraphy You Qiu, Ming dynasty

Paper

In the painting, a donkey with ears perked up bears a literatus across a bridge. Red tassels appear to adorn its muzzle and rump, and the mud guards—red with green borders—look quite decent. The luggage is carried by a young attendant following behind, suggesting that the donkey is well-cared for as its master rides it on a winter excursion. In the upper section of the composition, a studio is piled high with scrolls, and the garden is planted with pine, bamboo, and plum blossoms. A figure gazes toward an empty pavilion, perhaps awaiting the arrival of the visiting literatus.

The signature on this work is of doubtful authenticity; the painting style suggests it may be from the hand of Li

Shida (active late 16th–early 17th century).

13

宋 馬和之 桃源圖紙本

這幅畫生動表現漁夫誤入桃花源時，村民驚訝聚集的場面。與村民一同生活在理想世界的動物，對外來者也頗為和善：黑犬湊近欲嗅聞氣味，另一隻活潑地吠叫；連水牛似乎也微笑地望著漁夫。畫卷另加入松下對奕的場面，似乎帶入「爛柯」典故，表現此處一直凍結在最安樂理想狀態的特殊時間感。此圖應為明代後期的託名之作。

The Peach Blossom Spring Ma Hezhi, Song dynasty Paper

This painting vividly depicts the scene where surprised villagers gather after the fisherman accidentally stumbles into the Peach Blossom Land. The animals, coexisting with the villagers in this ideal world, are also quite friendly toward the outsider: a black dog approaches to sniff him, while another barks playfully; even the water buffalo appears to be smiling at the fisherman. The scroll also includes a scene of figures playing chess beneath a pine tree—an allusion to the “Lanke” (Rotted Axe Handle) story—suggesting a unique temporality where time is forever frozen in a state of blissful perfection. This piece is believed to be a late Ming dynasty work produced under

a false attribution.

14

清 弘旿 畫萬邦綏屢圖紙本

宗室畫家弘旿（1743-1811）這件長達 1167 公分的鉅製，從邊塞、山野、城鎮，畫到河港與大洋，並表現不同區域的風情、建築、產業與交通方式：邊塞放牧牛群、羊群，騎乘著馬與駱駝；山間有驢子耕地，水鄉有牛推動龍骨水車。全卷以帝國視角構成，所繪動物皆為輔助農牧之牲畜，共同譜寫遼闊疆域裡國泰民安的盛世圖景。

Bringing Constant Tranquility to the Myriad States Hong Wu, Qing dynasty

Paper

This monumental handscroll, measuring 1,167 cm in length, by the imperial clan painter Hongwu (1743–1811), depicts a vast panorama ranging from the frontier, wilderness, and towns to river ports and the open ocean. It illustrates the diverse customs, architecture, husbandries, and modes of transportation across these regions: herds of cattle and sheep grazing and people riding horses and camels on the frontier; donkeys plowing fields in the mountains; and oxen powering dragon-bone waterwheels in the water-towns. Composed from an imperial perspective, the animals depicted are exclusively productive livestock assisting in breeding of crops and animals,

collectively portraying a flourishing era of national peace and prosperity across the vast territory.

15

宋 馬遠 畫王羲之玩鵝圖絹本

據傳東晉大書法家王羲之（303-361）生性愛鵝，不僅曾為人抄寫經文以換取白鵝，更為了養鵝而在居所鑿池。他藉由觀察鵝頸的動態，從中體悟書法線條的美感。此軸所繪頭戴折巾、手執六角扇的文士，正是王羲之的經典形象。畫中他正倚松欣賞荷塘中一對悠游的白鵝。根據畫風推斷，此圖應為明人詮釋馬遠

（1160-1225）風格的偽託之作。

Wang Xizhi Viewing Geese Ma Yuan, Song dynasty Silk

Legend has it that the great Eastern Jin calligrapher Wang Xizhi (303–361) had a passionate fondness for geese.

He famously transcribed scriptures in exchange for white geese and even excavated a pond at his residence specifically to raise them. By observing the movements of their necks, he gained insight into the aesthetic beauty of calligraphic lines.

The scholar depicted in this scroll—wearing a folded kerchief and holding a hexagonal fan—represents the classic image of Wang Xizhi. He is shown leaning against a pine tree, admiring a pair of white geese swimming leisurely in a lotus pond. Judging by the artistic style, this scroll is likely a Ming dynasty work interpreting the style

of Ma Yuan (1160–1225) and is falsely attributed to him.

16

明 張宏 補衲圖紙本

羅漢於樹下補衣，前方像是長了絡腮鬍的小猿猴正為他捻線。猿猴口銜線頭、伸腿引線，雙手專注搓轉，模樣認真、憨態可掬。羅漢於衲衣後方，似乎亦被逗樂，瞇眼含笑。張宏（1577-1668 以後）素以山水聞名，然 1638 年所作此圖，以粗礪暢快的短筆描繪羅漢與猿猴的有趣互動，實為別開生面的佳作。

Luohan Mending a Cassock Zhang Hong, Ming dynasty Paper

Seated beneath a tree, a Luohan (Arhat) mends his robe, assisted by a small monkey with whiskered cheeks who is twisting thread. Holding the end of the thread in its mouth, the monkey stretches a leg to pull it taut while diligently twisting it with both hands—a display of serious yet endearing charm. From behind the garment, the Luohan appears amused, his eyes squinting in a smile. Although Zhang Hong (1577–after 1668) is renowned for his landscapes, this 1638 work employs coarse, expressive short brushstrokes to capture this humorous interaction,

making it a truly refreshing and exceptional work.

17

明 仇英 漢孝明皇帝

帝王道統萬年圖冊 第 17 開

絹本

《帝王道統萬年圖冊》共二十幅，設色描繪歷代帝王事蹟。末幅署「仇英」款。據顧可學（？— 1560）題記，此開描繪的是漢明帝（28-75）壽誕，百官及諸國使節朝賀的場景。畫中使節裝束殊異，各自進獻孔雀、白象、幼獅等珍禽異獸。域外動物鮮明地代表各地風土，是歷代朝貢中常見獻禮，以此表徵萬國來朝的盛況。

Emperor Ming of Han Dynasty

from Orthodoxy of Rulers Through the Ages

Qiu Ying, Ming dynasty Silk

Consisting of twenty leaves, the album depicts the deeds of historical emperors in color. The final leaf bears the signature of Qiu Ying. On display is the seventeenth leaf. According to the inscription by Gu Kexue (?-1560), this scene portrays civil officials and foreign envoys paying homage to Emperor Ming of Han (28-75) on his birthday.

The envoys, clad in diverse attire, present exotic beasts such as peacocks, white elephants, and lion cubs. These foreign animals, representative of their native regions, were common tribute gifts throughout history, here symbolizing the grandeur of “all nations coming to pay tribute.”

18

清 金廷標 羅漢

白描羅漢冊 第 3 開

紙本

《白描羅漢冊》共十二開，繪十六尊羅漢。除最後一開外，其餘各開皆描繪各憑神物渡海的羅漢仙 姿。本次選展第三開，兩尊羅漢分立於巨型蝦、蟹之上。金廷標未變造蝦蟹外觀，僅將體型放大，即成奇特的渡海道具。此冊另可見魚、蚌等常見水族，亦成為畫家馳騁想像力的素材，化平實為奇幻。

Luohan

from Lohans in Baimiao (Plain Lines)

Jin Tingbiao, Qing dynasty

Paper

The Album of Luohans in Baimiao (Plain Lines) consists of twelve leaves depicting sixteen Luohans. With the exception of the final leaf, each scene illustrates the Luohans crossing the sea, borne by various divine creatures.

On display is the third leaf, showing two Luohans standing atop a giant shrimp and a crab respectively. The artist, Jin Tingbiao, did not distort the natural forms of these creatures; by merely enlarging their scale, he transformed them into whimsical vehicles for the crossing. Throughout the album, common aquatic life such as fish

and clams serve as inspiration for the artist’s boundless imagination, turning the mundane into the fantastical.

19

清 門應兆 山鬼

補繪蕭雲從離騷圖上冊 第 39 開

紙本

〈山鬼〉出自屈原《楚辭·九歌》，描寫山鬼為見心上人盛裝赴約，等待時內心反側，終至期而不遇的哀怨。乾隆朝宮廷畫家門應兆（生卒年不詳）以流暢墨線，將山鬼採擷的花草、駕馭的赤豹、隨行的文狸及猿猴，與山鬼身姿交織成繁複卻又混為一體的繚亂圖案，成為山鬼的野性與魅力具體的視覺譬喻。

The Mountain Spirit

from Painted Additions to Xiao Yuncong’s The Lament Volume One Men Yingzhao, Qing dynasty

Paper

Derived from the Nine Songs in Qu Yuan’s Songs of Chu (Chu Ci), “The Mountain Spirit” depicts the Spirit, arrayed in finery, journeying to meet a lover. The poem captures the torment of anxious waiting and the ultimate sorrow of a tryst unfulfilled.

Men Yingzhao, a court painter of the Qianlong reign (birth and death dates unknown), employs fluid ink lines to interweave the Spirit’s figure with gathered flora, a red leopard mount, and accompanying striped wildcats and apes. These elements merge into a complex yet integrated composition, serving as a tangible visual metaphor for the

Spirit’s untamed nature and allure.

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清 莊瑗 梅鶴漁舟人物畫冊 第 1 開絹本

宋代高士林逋（967-1028）淡泊名利，隱居西湖以詩書自娛。他愛梅養鶴，將其視為家人，留下「梅妻鶴子」的千古佳話。畫家莊瑗（生卒年不詳）依畫風推測，應是清初活躍於京師，曾為皇親貴族服務的職業畫家。畫中高士倚書觀賞舟中的兩隻白鶴，神情悠閒，水岸兩側盛開的白色梅林，應是對此典故的生動寫照。

A Crane on the Fisherman’s Boat amidst the Plum Blossoms from A Collection of Paintings of Figures in Landscapes

Zhuang Yuan, Qing dynasty

Silk

The Song dynasty scholar-recluse Lin Bu (967–1028), indifferent to fame and fortune, retreated to West Lake to immerse himself in poetry and literature. He cherished plum blossoms and raised cranes, regarding them as his closest kin—a lifestyle that gave rise to the celebrated idiom “regarding the plum blossom as a wife and the crane as a son.” Based on the artistic style, the painter Zhuang Yuan (birth and death dates unknown) is believed to have been a professional artist active in the capital during the early Qing dynasty, serving the imperial clan and nobility. The leisurely scholar leaning against books to gaze at two white cranes in a boat, framed by white plum groves in full bloom on both banks, serves as a vivid portrayal of this classic allusion.

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清 莊瑗 寒江待渡人物畫冊 第 2 開

絹本

此開冊頁典故不明，卻生動描繪了渡口景象。遠岸船夫正招手攬客；船上有一對文士模樣的乘客攜驢同行；近景小船似已滿載，眾多乘客瑟縮於船板上。畫中最顯眼者為岸上赤足盲丐，藉繩索繫著白底黑花的小狗引路，摸索前行，似欲趕船渡江。這對盲丐與花狗，特別反應在艱辛生活中，彼此相依共存的緊密

關係。

Waiting to be Ferried by a Wintry River

from A Collection of Paintings of Figures in Landscapes

Zhuang Yuan, Qing dynasty

Silk

Although the specific allusion behind this album leaf remains unclear, it vividly depicts a scene at a ferry crossing. On the distant bank, a boatman waves to solicit customers, while a pair of scholar-like passengers travel on the boat accompanied by their donkeys. In the foreground, a small boat appears fully loaded, with numerous passengers huddled on the deck against the cold. The most striking figure is a barefoot blind beggar on the shore, led by a small black-and-white spotted dog on a leash. As he gropes his way forward, seemingly rushing to catch the ferry. This pair, a blind beggar and a spotted dog, particularly reflects the close bond of mutual dependence in a life

of hardship.

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清 張師誠 四日舉趾

跋豳風十二月圖說冊 第 8 開

絹本

這套冊頁是為慶賀嘉慶皇帝（1760-1820）五十大壽而繪製。張師誠（1762-1830）特別將〈豳風・七月〉提到的十二個月份不同活動依序描繪並解說內容。本次展出的〈四日舉趾〉，可見水牛協助耕作，卻也有一頭走在田埂上，似不願下田的牛隻，增添了不少畫作趣味。展出的另一開〈八月斷壺〉描繪採收葫蘆的情景。畫面左側特別畫出柵欄裡吸奶的小黑豬及公雞，似乎有這些動物為伴，才更能烘托出家的氛 圍。

Lifting the Foot / Harvesting Gourds

from Illustration of the Twelve Months in the Songs of Bin with Postcripts

Zhang Shicheng ,Qing dynasty

Silk

This album was painted by Zhang Shicheng (1762–1830) to celebrate the Jiaqing Emperor’s (1760–1820) fiftieth birthday. The artist sequentially illustrates and explains the activities of the twelve months as described in the “Odes of Bin: Seventh Month.”

In the displayed leaf, Fourth Month: Lifting the Foot, water buffalo are shown assisting with the work; however, one buffalo walking along the ridge appears reluctant to enter the field, adding a touch of humor to the scene. Another leaf on display, Eighth Month: Harvesting Gourds, depicts the gathering of gourds. On the left, a black sow nursing its young and a rooster are shown in a pen; their presence enhances the warm, domestic

atmosphere.

23

清 張師誠 八月斷壺

跋豳風十二月圖說冊 第 26 開

絹本

與 22 共用一個卡片。

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宋 陳居中 鬥鶉絹本

畫中胡人對坐於多彩的地毯上，手持樹枝逗弄鵪鶉，似在引其啄鬥。雄性鵪鶉天性好鬥，經飼養訓練後放入柵欄或籠中對戰，人們以勝負下注賭博，成為尋求刺激的娛樂消遣。南宋宮廷畫家陳居中（生卒年不詳）素以人物、蕃馬聞名。然觀此作風格畫技，與陳氏迥然有異，應屬明代後期託名之作。

Fighting Quails

Chen Juzhong, Song dynasty

Silk

In this painting, foreign tribesmen are seated opposite each other on a colorful carpet, holding twigs to tease quails, appearing to provoke them into a fight. Male quails are naturally aggressive; after being trained, they are placed in pens or cages to battle. Spectators place bets on the outcome, making this a popular form of thrill-seeking entertainment.

The Southern Song court painter Chen Juzhong (dates unknown) was renowned for his depictions of figures and foreign horses. However, the style and technique of this work differ significantly from Chen’s, suggesting it is a late Ming dynasty work falsely attributed to him.

25

清 李世倬 畫劉海蟾紙本

傳說道教仙人劉海蟾收伏了一隻能吐錢的三足金蟾精。由於金蟾生性喜愛咬錢，劉海蟾便以紅線穿著銅錢作餌，引誘金蟾前行。漢軍八旗出身的畫家李世倬（1687-1770）描繪的正是劉海蟾利用銅錢為餌，指揮金蟾載他渡海的有趣情景。兩者關係並非單純的飼養，而呈現出一種降伏引導與互惠共生的微妙平衡，饒富趣味。

Portrait of Liu Haichan Li Shizhuo, Qing dynasty Paper

Legend holds that the Daoist immortal Liu Haichan subdued a three-legged golden toad spirit capable of

spitting coins. Exploiting the toad’s innate greed for money, Liu used a string of copper coins as bait to lure it forward. Here, Li Shizhuo (1687–1770), a painter of the Han Chinese Banners, depicts a whimsical scene where Liu directs the toad to ferry him across the sea using this coin bait. This relationship transcends simple domestication,

revealing a delicate and intriguing balance of control, guidance, and mutual benefit.

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清 唐岱、沈源 合筆豳風圖絹本

〈豳風〉為《詩經》中篇幅最長、內容最豐富的農事詩，詳述歲時耕作、蠶桑、狩獵、採集、營築及祭祀等活動。十八世紀清代宮廷畫家唐岱（1673-1754）與沈源（生卒年不詳），依循詩意再現庶民生活百態，亦生動描繪了廣袤山河間與人為伴的各種動物。此作構圖宏偉，物象繁富，筆墨工細，圖頌國泰民 安，展現了典型的清代宮廷繪畫風格。

A Collaborative Illustration of the Odes of Bin Tang Dai and Shen Yuan, Qing dynasty

Silk

The “Odes of Bin” (Bin Feng) is the longest agricultural poem in the Classic of Poetry, detailing seasonal activities such as farming, sericulture, hunting, gathering, construction, and rituals. The eighteenth-century Qing court painters Tang Dai and Shen Yuan faithfully recreated these myriad aspects of rural life based on the texts, while vividly depicting the various animals living alongside humans within the expansive landscape. With its grand composition, rich imagery, and meticulous brushwork, this work illustrates a vision of national peace and prosperity,

exemplifying the typical style of Qing court painting.

27

民國 顏伯龍 猴戲圖紙本

畫中描繪黃昏時一組賣藝者牽著溫馴的綿羊與花狗，讓猴子依傍在背上敲鑼集客，以雜耍營生的景

象。顏伯龍（1898-1954）是民國時期京津畫派著名的花鳥畫家。依據題識，此作係 1924 年於天津應友人之請而繪，或含嘲諷之意。但也可由圖文想像當時的雜耍可能讓戴上面具的猴子，騎著當作馬的綿羊，與扮成獅子的花狗一起演出的有趣景象。

Monkey Performance

Yan Bolong, Republican period

Paper

This painting depicts a pair of itinerant entertainers earning a livelihood through acrobatics. They lead a gentle sheep and a spotted dog, while a monkey perched on the back of one of the entertainers strikes a gong to attract a crowd. Yan Bolong (1898–1954) was a renowned bird-and-flower painter of the Beijing-Tianjin School during the Republican period. According to the inscription, this work was painted in Tianjin in 1924 at the specific request of a friend. While the work may contain satirical undertones, the combination of image and text offers a glimpse into the amusements of the time, featuring a masked monkey riding a sheep as a horse, performing alongside a spotted dog costumed as a lion.

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民國 丁衍庸 玄壇紙本

「玄壇」即武財神趙公明，傳統形象多騎乘黑虎。圖中趙公明面呈青色，鬚髮飛張，穿著豔麗紅褲，極具氣勢的踞坐在澄黃皮毛的大老虎身上。老虎已經馴化伏於地面。趙公明與老虎的形象合為一體，設色鮮麗，線條狂放不羈，為素以野獸派畫風聞名的留日畫家丁衍庸（1902-1978）於 1978 年所繪。

Marshal Xuantan

Ding Yanyong ,Republican period Paper

“Xuantan” refers to Zhao Gongming, the Martial God of Wealth, who is traditionally depicted riding a black tiger. In this painting, Zhao is shown with a blue face and a wild, windswept beard. Clad in bright red trousers, he

sits with imposing presence atop a large tiger with bright yellow fur. The tiger appears tamed, crouching low on the ground. The figures of the deity and the beast merge into a unified whole, rendered with vivid colors and wild, uninhibited lines. This work was created in 1978 by Ding Yanyong (1902–1978), an artist who studied in Japan and

was renowned for his style influenced by Fauvism.

29

漢 山東孝堂山漢孝子郭公祠石刻墨拓紙本

郭氏墓石祠建於東漢（25-220）初年，舊傳為孝子郭巨之墓前祠堂。此作拓自祠堂東壁，雖邊緣部分已佚，仍可見上半部風神吹斜屋頂的生動神話場景。下方的出行儀衛行列中，除了壯盛的步騎兵外，亦刻劃駱駝與大象等來自異域的動物，具體呈現漢代納入珍奇動物於儀仗行列中，藉以彰顯地位與威儀。

Ink Rubbings of Stone Carvings of the Filial Son Guo Gong Temple at Xiaotang Mountain in Shandong Han dynasty

Paper

The Stone Shrine of the Guo Family was built in the early Eastern Han dynasty (25–220) and is traditionally attributed to the tomb of the filial son Guo Ju. This rubbing is taken from the shrine’s east wall. Although the edges are lost, the upper section vividly depicts a mythological scene of the Wind God blowing a roof askew. The lower section features a ceremonial procession; in addition to a majestic array of foot soldiers and cavalry, rare exotic animals, including a camel and an elephant, are depicted. This reflects the Han dynasty practice of incorporating

exotic beasts into ceremonial procession to demonstrate status and authority.

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民國 歐豪年 梅妻鶴子

紙本

北宋隱逸詩人林逋「梅妻鶴子」之高士形象廣受推崇，相關藝文創作歷代不絕。本幅乃嶺南畫派名家歐豪年（1935-2024）所作。該畫派素以「折衷中西，融匯古今」為宗旨，此作筆勢雄強，卻又暈染勻淨，營造出光影朦朧的出塵仙氣。畫作於 1982 年致贈前院長蔣復璁，生動傳達了白鶴迴翔之際，高士獨坐梅樹下的沈著與靜定。

Plums as Wife, Cranes as Children Au Honien, Republican period Paper

The Northern Song hermit poet Lin Bu is widely admired for his image as a noble scholar who took “the plum blossom as a wife and the crane as a son,” and related artistic creations have never ceased through the ages.

This scroll was created by the Lingnan School master Au Honien (1935–2024). The school has always taken “eclecticizing East and West, and fusing the ancient with the modern” as its objective. This work features strong and vigorous brush momentum, yet the washes are even and clean, creating a hazy light and shadow that suggests a transcendent, fairy-like air. The painting was gifted to former Director Chiang Futsung in 1982; it vividly captures

the composure and serenity of the scholar sitting alone beneath a plum tree as a white crane circles above.