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册(折装)

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本幅绢

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鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宝笈三编
鑑藏宝玺：宣统御览之宝

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收藏着录： 石渠宝笈三编（干清宫），第二册，页588 收藏着录： 故宫书画录（卷八），第四册，页144 收藏着录： 故宫书画图录，第二十五册，页46-47 参考书目： 1.王耀庭、陈韵如，〈清焦秉贞画仕女图(册02、05)〉，收入王耀庭主编，《新视界 : 郎世宁与清宫西洋风》（台北：国立故宫博物院，2007年初版），页34-35。2.本社，〈清焦秉贞仕女册〉，《故宫文物月刊》，第53期（1987年8月），页4-12。3.刘芳如，〈清焦秉贞莲舟晚泊〉，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87-88。4.林莉娜，〈仕女图〉，收入冯明珠主编，《康熙大帝与太阳王路易十四特展》（台北：国立故宫博物院，2011年十月初版），页44。 内容简介（中文）： 焦秉贞（约活动于一六八九─一七二六年间），山东济宁人。曾任职钦天监，与欧洲人南怀仁共事，或因此接触西洋画法，致其人物、宫室均有西画绘技之影响。 本册共有八幅，描绘四季仕女悠閒的生活。建筑结构运用透视法，立体空间深入画面；仕女的脸、手部份亦着意于凹凸之表现，充分显示其为康熙朝第一位融合西洋绘技于画中的宫廷画家。 内容简介（中文）： 焦秉贞生曾为康熙时的钦天监，作品以康熙三十五年（1696）的〈耕织图〉最着，其画作受到康熙帝的讚赏。此画册共有八开，皆画楼阁亭台间的仕女活动。特别在建筑物的表现上运用西洋透视法则，营造仕女穿绕在庭园建筑之间的场面。焦秉贞的仕女具独特风格，皆是头额略宽，下巴收尖的开脸造型，身体显得轻薄、扁平，这类仕女画法为冷枚、陈枚等清宫画家沿用，蔚成清宫仕女画特征。 内容简介（中文）： 焦秉贞（西元十七─十八世纪），山东济宁人。曾任职钦天监，与比利时传教士南怀仁（一六二三－一六八八）共过事，缘此接触到西洋画，所绘人物、宫室，深受西方凹凸技法之影响，是康熙朝首位将西洋画法融入中国画的宫廷画家。 全册共八幅，本次展出第一至第四幅。描绘仕女于不同季节中，所展现的各种悠閒情态。背景建筑，采用透视画法，重视染晕，立体感十足，与传统殊异。(20100101) 内容简介（英文）： Jiao Bingzhen, a native of Jining, Shandong, served in the Directorate of Astronomy and had the chance to work with the Belgian missionary Ferdinand Verbiest (1623-1688) and thus came in contact with Western painting. His depictions of figures and palatial buildings were influenced by Western methods of shading, and he was the first Kangxi court artist to incorporate Western techniques in Chinese painting. This album consists of eight leaves, of which four are on display here. The ladies appear in different seasons and engaged in various leisurely activities. The buildings are also rendered using Western methods of perspective, and the strong sense of shading to the washes creates a highly volumetric effect differing much from traditional Chinese techniques.(20100101) 内容简介（英文）： Chiao Ping-chen was active in the Directorate of Astronomy during K’ang-hsi reign (1662-1722). As a painter, he is best known for his “Illustrations of Agriculture and Sericulture,” his style much appreciated by the K’ang-hsi Emperor. This album composed of eight leaves depicts activities of ladies among buildings. Of particular note is the use of Western perspective in rendering the architecture, presenting scenes of ladies realistically making their way among the gardens and buildings. Chiao Ping-chen’s style of painting ladies was unique, representing figures with foreheads slightly wider and a narrow chin. Their bodies are also often depicted as wispy and thin, serving as a model for the painting of ladies adopted by such other court painters as Leng Mei (fl. ca. 1677-1742) and Ch’en Mei (ca. 1694-1745). These became the distinctive features of lady paintings at the Ch’ing court. 内容简介（英文）： Chiao Ping-chen, a native of Shantung, served in the Directorate of Astronomy at court, where he worked with Europeans. He came in contact with European painting styles, which influenced the rendering of figural and architectural subjects in Ch’ing court art. This album of 8 leaves depicts the leisurely life of court ladies during the four seasons. The architectural elements are rendered with perspective and proportion, adding depth to the scenes. The use of shading for the faces and hands of the ladies clearly shows that Chiao was the first painter under the K’ang-his Emperor (r. 1662-1722) to combine the modes of Western and Chinese styles in his works.