两幅鹿角画 - 美国大都会艺术博物馆展品查阅

品名（中）	两幅鹿角画
品名（英）	Two Paintings of Deer Antlers
入馆年号	1913年，13.220.127a, b
策展部门	亚洲艺术（Asian Art）
创作者	Qianlong Emperor【1711 至 1799】【中国人】
创作年份	公元 1762 - 公元 1767
创作地区
分类	绘画（Paintings）
尺寸	a: 9 3/4 × 81 1/4 英寸 (24.8 × 206.4 厘米) b: 9 7/8 × 81 1/4 英寸 (25.1 × 206.4 厘米)
介绍（中）	乾隆皇帝同时练习书法和绘画，以此来认同中国文人的自我修养理想。然而，这两卷卷轴的主题揭示了他随之而来的愿望，即与满族狩猎传统保持一致。此外，纹理和三维形式的逼真渲染反映了西方绘画技术的影响，由朱塞佩·卡斯蒂廖内（Giuseppe Castiglione，1688-1766）等耶稣会画家引入宫廷。两卷卷轴中较早的一张描绘了斑点鹿的鹿角。在随附的铭文中，皇帝回忆起在中亚看到他的祖父康熙皇帝（1661-1722年在位）购买的一对巨大的八角鹿角——当时被认为是一个吉祥的标志。五年后绘制的第二卷卷轴展示了一种在西方被称为大卫神父的物种的角，该物种以同名的耶稣会传教士和博物学家（1826-1900 年）命名，他首先在西方资料中记录了它。在随附的文章中，乾隆描述了不同的鹿种，并试图纠正经典儒家文本《礼记》中的误导性区别。
介绍（英）	The Qianlong Emperor practiced both calligraphy and painting as a way of identifying himself with Chinese literati ideals of self-cultivation. However, the subject matter of these two scrolls reveals his concomitant desire to align himself with Manchu hunting traditions. Furthermore, the realistic rendering of texture and three-dimensional form reflects the influence of Western pictorial techniques, introduced to the court by Jesuit painters such as Giuseppe Castiglione (1688–1766). The earlier of the two scrolls depicts the antlers of a spotted deer. In his accompanying inscription, the emperor recalls seeing a gigantic pair of eight-point antlers procured by his grandfather, the Kangxi Emperor (r. 1661–1722), in Central Asia—considered at the time to be an auspicious sign. The second scroll, painted five years later, presents the horns of a species known in the West as Père David, so named for the eponymous Jesuit missionary and naturalist (1826–1900) who first recorded it in a Western source. In his accompanying essay, Qianlong describes different deer species and seeks to correct misleading distinctions made in the Book of Rites, a classic Confucian text.