| 文物統一編號 |
故畫003383N000000000
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故畫003383N000000A01
故畫003383N000000A02
故畫003383N000000A03
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| 作品號 |
故畫00338300000 |
| 品名 |
清冷枚耕織圖 冊
Tilling and Weaving |
| 分類 |
繪畫 |
| 作者 |
冷枚 |
| 數量 |
一冊：二十六開（本幅二十三開四十六幅，前副葉三開） |
| 位置 |
尺寸(公分) |
| 本幅 |
22.8x24 |
| 前副葉 |
25.6x25.6 |
| 本幅上方 |
8.4x24 |
| 質地位置 |
質地 |
| 本幅上方 |
紙 |
| 前副葉 |
紙 |
| 本幅 |
絹 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 題跋 |
清聖祖
印記 expand_more
|
前副葉 |
康熙三十五年（西元一六九六年）春二月社日題并書。 |
行書 |
御製耕織圖序。朕早夜勤毖。研求治理。念生民之本。以衣食為天。常讀豳風無逸諸篇。其言稼穡蠶桑。纎悉具備。昔人以此被之管絃。列于典誥。有天下國家者。洵不可不留連三復於其際也。西漢詔令。最為近古。其言曰。農事傷則饑之本也。女紅害則寒之原也。又曰老耆以壽終幼孤得遂長。欲臻斯理者。舍本務其曷以哉。朕每廵省風謡。樂觀農事。於南北土疆之性。黍稌播種之宜。節候早晚之殊。蝗蝻捕治之法。素愛諮詢。知此甚晰。聽政時。恒諸臣工言之。於豐澤園之側。治田數畦。環以溪水。阡陌井然在目。桔橰之聲盈耳。歲收嘉禾數十鍾。隴畔樹桑。傍列蠶舍。浴繭繅絲。恍然如茆簷蔀屋。因構知稼軒秋雲亭以臨觀之。古人有言。衣帛當思織女之寒。食粟當念農夫之苦。朕惓惓於此。至深且切也。爰繪耕織圖各二十三幅。朕於每幅製詩一章。以吟詠其勤苦。而書之于圖。自始事迄終事。農人胼手胝足之勞。蠶女繭絲機杼之瘁。咸備極其情狀。復命鏤板流傳。用以示子孫臣庶。俾知粒食維艱。授衣匪易。書曰惟土愛物厥心。臧庶於斯圖有所感發焉。且欲令寰宇之内。皆敦崇本業。勤以謀之。儉以積之。衣食豐饒。以共躋於安和富壽之域。斯則朕嘉惠元元之至意也夫。康熙三十五年（西元一六九六年）春二月社日題并書。 |
| 印主 |
印記 |
| 清聖祖 |
佩文齋 |
| 清聖祖 |
康熙宸翰 |
| 清聖祖 |
稽古右文之章 |
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| 印記類別 |
印主 |
印記 |
| 鑑藏寶璽 |
清高宗 |
八旬天恩（重二十二） |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清高宗 |
太上皇帝寶（重二十二） |
| 鑑藏寶璽 |
清高宗 |
古希天子（重二十二） |
| 鑑藏寶璽 |
清內府印 |
石渠寶笈 |
| 鑑藏寶璽 |
清內府印 |
宜子孫 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶（重二十二） |
| 鑑藏寶璽 |
清高宗 |
乾隆鑑賞 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
養心殿鑑藏寶 |
| 類別 |
參考資料 |
| 內容簡介 |
冷枚（十七世紀後期至十八世紀前期），字吉臣，山東膠州人。康熙年間供奉內廷。畫法師焦秉貞，擅長人物仕女及山水樓閣，得力於西法寫生。耕織圖是描寫民間農事和紡織的生活情況，此題材始繪於南宋初，元、明有刻本流傳。清康熙年間，焦秉貞奉詔繪製新本，聖祖為之題詩作序，鏤版印賜諸臣。此冊乃冷枚摹寫焦本，配以版印康熙詩、序，裝裱而成。設色典麗妍雅，頗得師傳。
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| 內容簡介 |
冷枚（西元十八世紀），字吉臣，山東膠州人。康熙年間供奉內廷，作品見於康熙四十二年至五十六年間（一七０三–一七一七），善畫人物，書法工中帶寫，點綴屋宇精細如界畫，卻生動有致。
按清院本耕織圖四十六幅，原為康熙年間內庭祇候焦秉真所畫，以其能曲畫農家苦樂，故詔命鏤版印賜臣工，現猶有冷枚、陳枚諸人仿作傳世。冷枚為焦氏弟子，本幅筆墨潔淨，賦色韶秀，頗得師傳。本幅冊之尺寸大小，及幅上之乾隆御題詩句，皆與焦秉真原畫冊同。
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| 內容簡介 |
冷枚（十七世紀後至十八世紀初），字吉臣，山東膠州人。康熙年間供奉內廷。畫法師焦秉貞，擅長人物仕女及山水樓閣，得力於西法寫生。耕織圖題材始於南宋初，描寫古代農業社會的男耕女織，穀物從種植到收成入倉，養蠶從采桑育蠶到織布成衣的過程。清康熙年間，焦秉貞奉詔繪製新本，由聖祖題詩作序，鏤版印賜諸臣。此冊冷枚摹寫焦本，裱配版印之康熙詩、序。設色典麗妍雅，頗得師傳。(20100101)
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| Description |
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)
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| Description |
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.
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| Description |
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.
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| 收藏著錄 |
石渠寶笈初編（養心殿），上冊，頁507
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| 收藏著錄 |
故宮書畫錄（卷八），第四冊，頁155
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| 收藏著錄 |
故宮書畫圖錄，第二十五冊，頁50-57
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| 參考書目 |
1.王耀庭、陳韻如，〈清冷枚耕織圖(第十二、二十冊)〉，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44-49。
2.國立故宮博物院編輯委員會，〈清冷枚耕織圖〉，收入國立故宮博物院編輯委員會編，《界畫特展圖錄》（臺北：國立故宮博物院，1986年初版），頁63。
3.廖寶秀，〈也可以清心 — 茶器、茶事、茶畫〉，《故宮文物月刊》，第232期（2002年7月），頁16。
4.馬孟晶，〈冷枚耕織圖冊〉，收入劉芳如、張華芝主編，《群芳譜 — 女性的形象與才藝》（臺北：國立故宮博物院，2003年初版一刷），頁130-131。
5.林莉娜，〈畫耕織圖〉，收入馮明珠主編，《康熙大帝與太陽王路易十四特展》（臺北：國立故宮博物院，2011年十月初版），頁60。
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