| 文物統一編號 |
故畫001279N000000025
|
| 作品號 |
故畫00127900025 |
| 品名 |
畫幅集冊 冊 清冷枚人物
|
| 分類 |
繪畫 |
| 作者 |
冷枚 |
| 數量 |
一幅 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
人物 |
仕女 |
|
| 次要主題 |
花草 |
杏花 |
|
| 其他主題 |
山水 |
奇石 |
|
| 其他主題 |
建築 |
房舍 |
|
| 其他主題 |
器用 |
文玩（琴棋書畫） |
棋 |
| 其他主題 |
器用 |
傢俱（屏風） |
桌、椅、屏風狀花架 |
| 其他主題 |
器用 |
飲食器 |
食盒、碗、壺 |
| 其他主題 |
樹木 |
竹 |
|
| 類別 |
參考資料 |
| 內容簡介 |
冷枚（約活動於西元一七０三至一七一七年）字吉臣，山東膠州人。康熙間供奉內廷。曾師法焦秉貞，善人物寫真。此圖繪桃紅時節，仕女對奕，另兩位捧描金漆盒及茶碗。仕女造型清秀，服飾富麗，是典型清院畫。
高靠背南式官帽椅，背板稍有曲線幅度，扶手聯幫棍皆為直線形，座面下兩腿間有券口牙子。足間棖子採步步高形式，下有牙頭裝飾。方桌使用廣泛，清代又稱八仙桌，桌面下有羅鍋棖加雙矮老，腿足為方材馬蹄足，通體素潔，有明式家具特點。另一長條椅具清代特色。
|
| 內容簡介 |
冷枚，山東膠州人，曾與修康熙五十二年（1696）修《萬壽盛典》，乾隆朝初年後活動記錄漸少，是主要繼承焦秉貞仕女畫風的清宮畫家。此二開選自《畫幅集冊》，一為月夜仕女提燈遊園，另一為仕女研墨書寫，皆描繪園林中的仕女活動，其中不論建築物的表現或是仕女的面容姿態都與焦秉貞相近，月夜一景更與北京所藏陳枚《月曼清遊》圖冊構圖雷同，可藉此理解清宮仕女畫風的延續與變化。
|
| Description |
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.
|
| Description |
Leng Mei (style name Chi-ch’en) was a native of Chiao-chou, Shantung, who served as a court artist during the reign of the K’ang-hsi emperor (r.1662-1722). He studied under the court artist Chiao Ping-chen and excelled at painting figures and portraits. This is a painting of the Peach Blossom Festival with palace women. Two other women are holding lacquered boxes painted with gold lines and tea bowls. The elegant and opulently adorned women make this a typical work of the Ch’ing Painting Academy.
Here, this so-called “southern-style” armchair has no projecting railings and a high curved backrest. The armrests are bound and follow in straight lines. Between the legs below the seat, there are open spandrels. The stretcher between the feet is slightly lower, acting also as a footrest. And below the stretcher are spandrels for further stability and decoration. The square table seen here was quite common, known as an “Eight Immortals’ Table” in the Ch’ing dynasty. Below the tabletop are curving humpbacked stretchers with short, double vertical braces, and the feet are in the shape of square horse hoofs. This piece reflects the simple and refined features of Ming style furniture, while the long, narrow chair is distinctive of Ch’ing furniture.
|
| 收藏著錄 |
石渠寶笈初編（重華宮），下冊，頁761
|
| 收藏著錄 |
故宮書畫錄（卷六），第四冊，頁287
|
| 參考書目 |
1.嵇若昕，〈宮廷牙匠與畫家的對話 — 〈月曼青遊〉之圖繪與雕刻〉，《故宮文物月刊》，第268期（2005年7月），頁36-50。
|
| 收藏著錄 |
〈畫幅集冊 冊 清冷枚人物〉，收入李玉珉主編《故宮書畫圖錄(卅二)》（臺北：國立故宮博物院，2013.12），頁34-49。
|
| 參考書目 |
〈畫幅集冊 冊 清冷枚人物〉，收入國立故宮博物院編輯委員會、林莉娜主編《畫中家具特展》（臺北：國立故宮博物院，1996.10），頁70-71、125。
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