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清 無款 生擒逆首石達開/諭旨
香港 北京时间
06月01日 上午10点30分 开拍 / 05月30日 下午3点 截止委托
拍品描述 翻译
清 無款
生擒逆首石達開/諭旨
設色絹本/水墨色箋 鏡片兩幅
137.5 x 312 cm. (54 1/8 x 122 7/8 in.) / 120.5 x 240.5 cm. (47 3/8 x 94 5/8 in.)(2)
諭旨時為同治二年(1863)六月十二日。

清 無款 生擒逆首石達開/諭旨 設色絹本/水墨色箋 鏡片兩幅 137.5 x 312 cm. (54 1/8 x 122 7/8 in.) / 120.5 x 240.5 cm. (47 3/8 x 94 5/8 in.)(2) 諭旨時為同治二年(1863)六月十二日。 歐洲家族於20世紀初購自中國。 清人繪製《生擒逆首石達開》,不著畫者姓名,據張弘星先生最新研究文章認為是慶寬(1848-1927)奉旨總領其事(見‘Investigating the Date, Maker, and Use of a Set of Photographic Albums of Late Qing Battle Painting’, Orientations 54, no. 5, September/ October 2023)。參考北京大學圖書館藏太平天國戰圖照片冊頁之相關照片(圖1),及布朗大學公布的戰事繪畫照片(圖2),兩者皆是本拍品之影像。圖3顯示“光緒十二年二月二十五日奉諭此項武功圖幀著派文案委員慶寬等開館敬謹繪辦”。1885年11月,清軍機處授命繪畫題材20條,1886年由慈禧批准進行,由醇親王奕譞(1840-1891)總責其事。圖4可見“繪圖總司委員”慶寬當時的官職是“花翎二品頂戴存記道內務府即補郎中員外郎”,其他參與戰事繪圖的人員有金如鑑等十三名。關於太平天國的戰事繪圖總共二十軸,據《勦辦粵匪戰圖目錄》清晰可見《生擒逆首石達開》在第16軸(圖5)。其次,據張弘星先生研究,李鴻章受奕譞委託進行15條,其中13條由湘軍領袖曾國荃負責,要求成稿必須是一手卷、一冊頁(參見張弘星《流散在海內外的兩組晚清宮廷戰圖考略》,故宮博物院院刊,2001年第2期總第94期)。張氏認為《生擒逆首石達開戰圖》原是手卷形式,137.5公分高度的巨大手卷,確實顛覆了傳統對於文人案頭手卷尺寸的認知,也再再顯示皇家宮廷氣魄,確非文人書齋可以比擬。據繪畫用絹和顏料來看,毫無疑問皆出於清代內府材料。繪畫風格細緻,也屬於院體奉敕繪製平定戰役圖一類,與康熙《平定噶爾丹圖》、乾隆《平定安南戰圖》等性質相同。畫中清軍以四方包圍之勢,捕殺畫圖正中船上諸人,以及岸上逃逸人眾。清朝將領列有名牌,如駱秉章、唐友耕、蔡步鐘、張占鰲、楊應剛等官員將領頭目均在其中。繪圖雖無名稱,根據人物姓名檢索史事,配合卷後清同治二年(1863)六月十二日內閣奉上諭文字內容,確定為清四川總督駱秉章於1862年5月大渡河誘降太平天國翼王石達開的歷史事件。駱秉章5月擒獲石達開後上報清廷,同治帝曾頒發上諭嘉賞一眾將領。此上諭與光緒十二年(1886)開始依次繪成的《生擒逆首石達開》合成一卷。從同治上諭可見中大小官員將領並獲晉升獎勵,其餘出力只弁兵勇著駱秉章查明請獎。而大渡河所屬的漢源縣在民初編寫《縣志》時,曾簡錄此份上諭內容(見《漢源縣志》第127頁),可為是次春拍的畫圖上諭作重要的參考與印證,彰顯《生擒逆首石達開戰圖》卷的歷史文獻價值。 我武維揚:清宮御製《生擒逆首石達開》考述
拍品專文 There are no artist’s signatures found on Capture of the Chief Traitor Shi Dakai. According to the latest research paper authored by Zhang Hongxing, the painting was made under the command of Qingkuan (1848-1927) (see ‘‘Investigating the Date, Maker, and Use of a Set of Photographic Albums of Late Qing Battle Painting’, Orientations 54, no. 5, September/October 2023). There exists two photographic records of this painting: one from a photographic album of the twenty paintings for the victory over the Taiping Rebellion, now in the Special Collection of the Peking University Library (fig. 1) , and the other from another set of photographic albums preserved in the John D. Rockfeller, Jr. Library at Brown University (fig. 2). Further images from the latter set reveal that on the twenty-fifth day, second month, twelfth year of the Guangxu period (1886), Qingkuan led a group of thirteen court painters and set up a painting studio to work on the paintings (fig. 3 & 4). Back in November 1885, the Grand Council was ordered to shortlist twenty battles scenes to be painted to commemorate the Taiping Rebellion. The list was approved by the Empress Dowager Cixi (1835-1908) in 1886 and Prince Chun Yihuan (1840-1891) was appointed Commissioner of the painting project.Referring to The Content of The Battle Scenes from the Victory over the Taiping Rebellion, Capture of the Chief Traitor Shi Dakai is the sixteenth out of the twenty-paintings series (fig. 5). According to Zhang, Li Hongzhang received order from Yihuan to deliver fifteen paintings, thirteen of which were handled by Zeng Guoquan, and all paintings should be done in two formats: handscroll and album (Zhang Hongxing, ‘Research on Two Groups of Dispersed Late Qing Battlefield Paintings, Palace Museum Journal 94, no. 2, February 2001). Capture of the Chief Traitor Shi Dakai was originally in the format of a handscroll, an enormous one measuring 137.5 cm high that could only fit for a palace.The colour pigments and silk used for Capture of the Chief Traitor Shi Dakai is of imperial quality and its delicate painting style is similar to that of the imperial military paintings of the Kangxi and Qianlong periods. The Qing imperial army in this painting, led by several named generals and leaders like Luo Bingzhang, Tang Yougeng, Cai Buzhong, Zhang Zhan’ao and Yang Yinggang, encircle the rebels and attack those on the boats and others fleeing to the hinterland. According to the accompanied Imperial Decree as well as a background search of the foregoing names, Capture of the Chief Traitor Shi Dakai depicts the historical event in May 1862 when Luo Bingzhan, the Governor of Sichuan, called on Shi Dakai, one of the leaders of the Taiping Rebellion, to surrender at Dadu River of Hanyuan county. Capture of the Chief Traitor Shi Dakai and its Imperial Decree are the latest discovery of the Battle Scenes of the Taiping Rebellion Series. A brief version of the Imperial Decree was documented in the Chronicles of Hanyuan County (p.127 refers) which manifests the historical value of this duo.

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