| 【類別】 | 【參考資料】 |
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收藏著錄
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石渠寶笈三編（寧壽宮），第七冊，頁3472
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收藏著錄
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故宮書畫錄（卷五），第三冊，頁574
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收藏著錄
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故宮書畫圖錄，第十四冊，頁45-46
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參考書目
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1.王耀庭、陳韻如，〈清郎世寧畫花陰雙鶴〉，收入王耀庭主編，《新視界 : 郎世寧與清宮西洋風》（臺北：國立故宮博物院，2007年初版），頁88-89。
2.韓北新，〈郎世寧繪畫繫年(五)〉，《故宮文物月刊》，第71期（1989年2月），頁72。
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參考書目
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劉芳如，〈清郎世寧畫花陰雙鶴 軸〉，收入《來禽圖—翎毛與花果的和諧奏鳴》（臺北：國立故宮博物院，2019.01），頁206-211。
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參考書目
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陳韻如，〈清郎世寧畫花陰雙鶴 軸〉，收入何傳馨主編《神筆丹青-郎世寧來華三百年特展》（臺北：國立故宮博物院，2015.10），頁164-167、408。
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內容簡介（中文）
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在粉色薔薇盛開的一角，立有兩隻丹頂鶴。一隻正在回首理毛，另一隻則略微回首，似乎正要看顧著兩隻尚未有羽毛的雛鶴。描繪得栩栩如生的鶴羽，不僅有毛羽細節也有光澤效果，這樣的光澤處理特質，也同樣表現於畫中植物，不論薔薇、鳶尾花皆有細膩描繪。此畫所描寫的雛鶴並非常見的繪畫題材，乾隆皇帝曾有詩文描寫雛鶴提到「鶴雛纔出殼，便具凌雲概」，畫中雛鶴站立挺直的姿態或許可為呼應。
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內容簡介（中文）
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郎世寧（西元一六八八－一七六六年），意大利人。十九歲時，入天主教耶穌會為修士。曾學習西畫、建築。二十七歲來華，以擅長繪事，服務康熙、雍正、乾隆三朝的宮廷。他的畫法於中國傳統中加入西洋光影透視法以及西畫顏料，畫面色彩穠艷，加以西洋的寫實功夫，使形象逼肖。此幅花陰雙鶴正可說明這種特點，給人栩栩如生的感受。
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內容簡介（英文）
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Lang Shih-ning, born Giuseppe Castiglione, was a native of Milan, Italy. At the age of 19, he entered the Jesuit order as a novitiate. He became not only learned in painting, but also architecture. At 27, he traveled to China as a missionary. Since he specialized in painting, he came to serve the court under three emperors. His distinct style combined traditional Chinese materials with Western techniques, such as perspective and modeling, to represent Chinese subjects. His opulent colors and strong Western realism created for the lifelike effect seen in his works. The volumetric appearance of the pair of cranes among flowers here is testimony to his style, resulting in the lifelike feeling as if the subjects are before one's eyes.
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內容簡介（英文）
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On a gentle slope where rose bushes bloom are two pairs of red-crested cranes, one adult and the other chicks. An adult stands on one leg and careens its neck to preen its feathers while the other looks back and down at the two chicks who have yet to molt, as if responding to and taking care of them. The rendering of the cranes’ feathers is very realistic and true to life, not just in the details but also the glossy luster. This treatment of sheen further characterizes the plants shown here, too, with the rose and iris blossoms rendered with equal attention to detail. The theme of crane chicks was not previously common in Chinese painting, but the Ch’ien-lung Emperor (r. 1736-1795) once wrote a verse on the subject: “Not until crane chicks come out of their shells, can they thus reach to the skies.” Perhaps the upright position of the chicks in this painting was meant to echo the emperor’s sentiments.
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