书体:

色彩:

装裱形式:

册(折装)

创作时间:

文字类型:

质地:

本幅绢本幅上方纸前副叶纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
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：乾隆御览之宝（重二十二）
鑑藏宝玺：八旬天恩（重二十二）
鑑藏宝玺：古希天子（重二十二）
鑑藏宝玺：太上皇帝宝（重二十二）
鑑藏宝玺：养心殿鑑藏宝
鑑藏宝玺：嘉庆御览之宝

题跋资料:

题跋类别：题跋；作者：清圣祖前副叶康熙三十五年春二月社日题并书；全文：；书体：行书；全文：（康熙三十五年御题。文不录。）印记：佩文斋、康熙宸翰、稽古右文之章

主题:

技法:

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页507 收藏着录： 故宫书画录（卷八），第四册，页155 收藏着录： 故宫书画图录，第二十五册，页50-57 参考书目： 1.王耀庭、陈韵如，〈清冷枚耕织图(第十二、二十册)〉，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44-49。2.国立故宫博物院编辑委员会，〈清冷枚耕织图〉，收入国立故宫博物院编辑委员会编，《界画特展图录》（台北：国立故宫博物院，1986年初版），页63。3.廖宝秀，〈也可以清心 — 茶器、茶事、茶画〉，《故宫文物月刊》，第232期（2002年7月），页16。4.马孟晶，〈冷枚耕织图册〉，收入刘芳如、张华芝主编，《群芳谱 — 女性的形象与才艺》（台北：国立故宫博物院，2003年初版一刷），页130-131。5.林莉娜，〈画耕织图〉，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60。 内容简介（中文）： 冷枚（十七世纪后期至十八世纪前期），字吉臣，山东胶州人。康熙年间供奉内廷。画法师焦秉贞，擅长人物仕女及山水楼阁，得力于西法写生。耕织图是描写民间农事和纺织的生活情况，此题材始绘于南宋初，元、明有刻本流传。清康熙年间，焦秉贞奉诏绘制新本，圣祖为之题诗作序，镂版印赐诸臣。此册乃冷枚摹写焦本，配以版印康熙诗、序，装裱而成。设色典丽妍雅，颇得师传。 内容简介（中文）： 冷枚（西元十八世纪），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（一七０三–一七一七），善画人物，书法工中带写，点缀屋宇精细如界画，却生动有致。按清院本耕织图四十六幅，原为康熙年间内庭祇候焦秉眞所画，以其能曲画农家苦乐，故诏命镂版印赐臣工，现犹有冷枚、陈枚诸人仿作传世。冷枚为焦氏弟子，本幅笔墨洁净，赋色韶秀，颇得师传。本幅册之尺寸大小，及幅上之乾隆御题诗句，皆与焦秉眞原画册同。 内容简介（中文）： 冷枚（十七世纪后至十八世纪初），字吉臣，山东胶州人。康熙年间供奉内廷。画法师焦秉贞，擅长人物仕女及山水楼阁，得力于西法写生。耕织图题材始于南宋初，描写古代农业社会的男耕女织，谷物从种植到收成入仓，养蚕从采桑育蚕到织布成衣的过程。清康熙年间，焦秉贞奉诏绘制新本，由圣祖题诗作序，镂版印赐诸臣。此册冷枚摹写焦本，裱配版印之康熙诗、序。设色典丽妍雅，颇得师传。(20100101) 内容简介（英文）： Leng Mei, a Kangxi court painter, followed Jiao Bingzhen’s (17th-18th c.) style and specialized in figures with landscapes and buildings, being also gifted at Western techniques. This theme of peace and prosperity in the countryside, appearing in the early Southern Song (1127-1279), shows men farming and women weaving. “Agriculture” depicts scenes from planting to harvest and storage, while “Sericulture” shows the process of picking mulberry leaves to raising silkworms to make silk. The Kangxi Emperor (r. 1662-1722) ordered Jiao Bingzhen to do a painted version, to which Kangxi added verse and a preface, which became a print set presented to officials. This is Leng Mei’s copy of Jiao Bingzhen’s version, the mounting with Kangxi’s poems and preface in print. The colors are elegant and beautiful, faithfully reflecting Jiao’s style.(20100101) 内容简介（英文）： Leng Mei, whose style name was Chi-ch’en, was from Chiao-chou, Shantung. During the K’ang-hsi period (1662-1723), he served as a Court Painter. He excelled at painting figures. His technique in the detailed style carries a hint of impressionistic brushwork. His use of the brush in depicting architecture is fine and detailed, as in ruled line painting, yet extremely lively. A set of 46 works entitled Tilling and Weaving was originally painted by the K’ang-hsi period court master Chiao Ping-chen. Because he was able to capture farmers’ joys and hardships the emperor ordered these works engraved on plaques and bestowed them on various court artists. Although Chiao’s paintings are now lost, copies by his students Leng Mei, Ch’en Mei, and others have survived. In this work, the clarity of the brushwork complements the gorgeous and refined application of color demonstrating Leng Mei’s mastery of his teacher’s style. The measurements of the painting, along with the Ch’ien-lung emperor’s poetic inscription, are the same as Chiao’s original work. 内容简介（英文）： Leng Mei served in the K'ang-hsi reign (1662-1722) as a court painter. Following Chiao Ping-chen, his contemporary, Leng specialized in figures, especially ladies, as well as landscapes and buildings. He was also fluent in Western techniques. This album includes scenes of farming and silk-making in traditional China. This subject goes back to the early Southern Sung (1127-1279) and versions were done in the following Yuan and Ming dynasties. The K'ang-hsi emperor inscribed poems and a preface for the project under his reign and lithograph copies were presented to officials. These paintings were copied by Leng Mei and bound with a printed version of K'ang-hsi's writing. The style of this traditional subject is elegant and classical.