书体:

色彩:

设色

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

题跋资料:

题跋类别：作者款识；作者：冷枚；题跋位置：本幅；款识：臣冷枚恭画；书体：楷书；全文：臣冷枚恭画。印记：臣冷枚

主题:

主要主题：人物仕女 主要主题：花草梅（白．红．蜡梅） ；其他主题：器用灯笼 ；其他主题：山水夜景（月景） ；其他主题：建筑回廊 ；其他主题：建筑篱笆、围墙围墙

技法:

工笔 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页761 收藏着录： 故宫书画录（卷六），第四册，页287 参考书目： 1.刘芳如，〈清冷枚月夜游园〉，收入国立故宫博物院编辑委员会编，《仕女画之美》（台北：国立故宫博物院，1988年四月初版），页88。2.嵇若昕，〈宫廷牙匠与画家的对话 — 〈月曼青游〉之图绘与雕刻〉，《故宫文物月刊》，第268期（2005年7月），页36-50。 内容简介（中文）： 冷枚，山东胶州人，曾与修康熙五十二年（1696）修《万寿盛典》，乾隆朝初年后活动记录渐少，是主要继承焦秉贞仕女画风的清宫画家。此二开选自《画幅集册》，一为月夜仕女提灯游园，另一为仕女研墨书写，皆描绘园林中的仕女活动，其中不论建筑物的表现或是仕女的面容姿态都与焦秉贞相近，月夜一景更与北京所藏陈枚《月曼清游》图册构图雷同，可借此理解清宫仕女画风的延续与变化。 内容简介（中文）： 冷枚，字吉臣，山东胶州人。康熙年间供奉内廷，作品见于康熙四十二年至五十六年间（西元一七０三至一七一七年）。善人物、写眞。画师焦秉眞，设色鲜艳明丽。园中梅花盛开，红白竞艳，一轮明月相映于高空。仕女成群，持灯来赏。仕女造形清秀，服饰富丽，设色尤为秾艳，是典型的院画。本幅为「画幅集册」中之一开。 内容简介（英文）： From high in the sky the light from a bright round moon pours down upon a garden filled with the red and white flowers of blossoming plum trees. Bearing lanterns, a bevy of gorgeously attired young women comes out to enjoy the sight. The artist has richly defined the hues and colors of this album leaf--a typical product of the Imperial Academy of Painting. Strolling in the Garden has been selected from the album Collected Paintings (Hua fu chi ts’e). Leng Mei (whose style-name was Chi-ch’en) was a native of Chiao-chou, Shantung. During the reign of the K’ang-hsi emperor (r. 1662-1722) he was summoned to serve in the Inner Court. Leng excelled at figure painting and was noted for his lifelike portraits. A student of Chiao Ping-chen (fl. 1689-1726), he was famous for his brilliant sense of coloring. 内容简介（英文）： Leng Mei, a native of Chiao-chou in Shantung, was one of the artists involved in Grand Ceremony for the Imperial Birthday compiled in 1696 for the K’ang-hsi Emperor (r. 1662-1722), but records of his activity later in the early Ch’ien-lung reign (1736-1795) apparently decreased. Leng Mei was a court artist who mainly followed Chiao Ping-chen’s (fl. ca. 1689-1726) style of painting ladies. These two leaves have been selected from “Collected Album of Paintings.” One depicts ladies strolling in a garden holding lanterns in the light of the moon, while the other shows ladies preparing ink and doing calligraphy. Both rendering activities of ladies in garden settings, the depictions of architecture as well as the facial features and poses of the ladies are similar to those of Chiao Ping-chen. In fact, the composition of the moonlit scene is nearly identical to that in an album leaf by Ch’en Mei (ca. 1694-1745) entitled “Pure Stroll under a Graceful Moon.” This relationship indicates the continuation and transformation of the painting style of Ch’ing court ladies.