墨线线条图
画弘历鉴古图像轴
清 姚文瀚 故宫博物院
姚文瀚,号濯亭,乾隆时供奉内廷,工道释、人物、山水、界画,《石渠宝笈》著录其曾作《仿清明上河图》卷,文瀚于群工角艺之时,胸具别裁,画成缩本,乾隆喜而题诗并注:“此卷较择端原本尺幅纵横倍减,而临摹毕肖,人物益小,尤见精能。”
紫光阁赐宴图卷
清 姚文瀚 故宫博物院
乾隆二十五年(1761年),紫光阁修缮完成,乾隆下旨将平定准部、回部的100名功臣画像张悬于四壁。次年正月,乾隆皇帝又在此设庆功宴,王公贵族、文武大臣、蒙古族首领以及西征将士百余人出席。此幅描绘了当时宴庆的宏大场面。图中建筑借助西洋绘画手法而沿用中国画传统的手卷形式来表现。位于中南海内的紫光阁始建于明代,到清代成为皇帝阅射和殿试武举之所,乾隆时重修,至今依然保持着当年盛世的形貌,图画中之建筑与紫光阁实景两相对照,饶有情趣。
紫光阁赐宴图卷(局部)
清 姚文瀚 故宫博物院
仿宋人勘书图轴
以校勘图书的题材入画,可以远溯到五代时南唐翰林待诏王齐翰所画的《勘书图》(现藏南京大学考古与艺术博物馆)。自此之后,历代画家多有创作,久而不衰。清乾隆皇帝雅好文化,曾敕令编纂大型丛书《四库全书》,四库馆臣在编纂期间校勘工作极为繁复,或许是乾隆帝目睹这一情况,有意让画家摹绘《勘书图》,使馆臣紧张的情绪有所缓解。
此图是仿照清宫庋藏的宋人《勘书图》绘制,描写五位文士在勘书之暇的小憩情形。图名称“仿”,仅于布局构图、人物安排方面以宋画为本,画中的家具等器物则多是清代的样式、形制,可见姚文瀚是依据当时的风尚经过精心构思,再次创作的作品。图上环境优雅,前后翠竹遥相呼应,竹叶随风摇动,凉意顿生,雕镂“万”字纹的曲折木制栏杆前,淡蓝染出的太湖石秀丽挺拔,远处的白鹭静静地伫立在栏外平如镜面的水中,四周浮萍聚散无序。校勘图书的文士神态各异,桌边一人手指摊在面前的书卷,注目校读,口中念念有词;轻摇小扇之人,目光为盆里开放的莲花与碧绿的荷叶所吸引,盛夏的酷热仿佛已被它们化解得无影无踪;趁着辛苦工作中难得的间隙,平素注重外表的文士正整理衣衫,稍事休息;皓首老者显然不胜长期伏案之苦,忙命小童轻锤酸痛的腰背以缓解劳顿;出于爱护书籍之心,满面络腮胡须的文士在洗去手上的汗污,以免弄污图书。画上的衣纹先用极淡的赭色线摹绘原作,再用墨线勾出,线条细劲连绵,起伏转折处能得宋人风致,赋色细润艳丽而不失雅淡,别有韵味,令人眼目一新。
岁朝欢庆图
清 姚文瀚 台北故宫博物院
本幅画过年情景。建筑之画法有透视观点,本幅画过年情景。建筑之画法有透视观念,而廊柱则绘阴影,更突显立体感,受西洋画风之影响。
岁朝欢庆图(局部)
清 姚文瀚 台北故宫博物院
卖浆图
清 姚文瀚 台北故宫博物院
本幅画市井卖浆的情景,男女老幼十人群集,或煽炉煮浆;或提壶贩饮;或引颈而饮,场面热闹。浆担、器物描绘仔细,一丝不苟。全作设色明净秀丽,用笔精细挺劲,人物开面略施阴影,具立体感。
卖浆图(局部)
清 姚文瀚 台北故宫博物院
摹宋人文会图
清 姚文瀚 台北故宫博物院
本卷摹画传宋刘松年画十八学士图卷,人物造型,器物环境全摹原卷,而设色渲染全是姚濯亭自家面目,尤带凹凸之法,体现了乾隆乃至整个清代宫廷的审美趣味。
摹宋人文会图(局部)
清 姚文瀚 台北故宫博物院
佛家画像
清 姚文瀚 台北故宫博物院
释迦牟尼佛轴
东方持国天王像轴
南方增长天王像轴
西方广目天王像轴
北方多闻天王像轴
第三拔纳拔西尊者轴
第四嘎礼嘎尊者轴
第五拔杂哩逋答喇尊者轴
第七嘎纳嘎巴萨尊者轴
第九拔嘎沽拉尊者轴
第十喇乎拉尊者轴
第十一租查巴纳答嘎尊者轴
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