Page 11 - Three Qianlong Rarities Christies Hong Kong May 2018
P. 11

fig. 2  Leaf number three, Portraits of Emperor Yongzheng in Ploughing
                                                     and Weaving,  album of 52 leaves, colour on sillk
                                                       Collection of the Palace Museum, Beijing
                                                     圖二  《雍正像耕織圖冊》第三開   耗耨   絹本   設色
                                                              北京故宮博物院藏品



               authors, such as 劉松年 Liu Songnian in the Southern Song period and various   時至清代,康熙令宮廷畫家焦秉貞(活躍
               authors in the Yuan and Ming dynasties largely copied Lou Shou’s original work.  於 1680 至 1720 年) 據《耕織圖》刊本,
                                                                                    另繪殿本《御製耕織圖》,以便在全國各
               In the Qing dynasty the Kangxi Emperor ordered the court painter 焦秉貞 Jiao   地派發。焦氏畫風展現了在清廷供職的歐
               Bingzhen (active c. 1680-1720) to revise the Gengzhi tu and to produce a fine 殿
                                                                                    洲耶穌會教士之影響,其耕織圖畫工一
               本 dianben (palace edition) which could be distributed throughout the empire.
                                                                                    流,且結合了焦點透視的原理。當時的木
               Jiao, whose work shows the influence of the European Jesuit missionaries at
                                                                                    刻名家朱圭(約公元 1644 至 1717 年)負
               the Chinese court, created exceptional images, which feature aspects of linear
                                                                                    責鐫刻雕版。據稱,每圖上方的七言絕句
               perspective.  The finest woodblock cutter of the day,  朱圭 Zhu Gui (c. 1644-
                                                                                    皆為皇上親題,實則應有一部份出自朝中
               1717) was commissioned to cut the blocks from which the publication was printed.
                                                                                    鴻儒之手,但題詩的筆意概以皇上御筆為
               It is implied that the seven-character quatrains above each illustration were
                                                                                    藍本。1696 年的刻本有兩個版本,顯然
               composed by the emperor, but some at least were probably composed by the
                                                                                    出自不同的雕版,一者圖示鈐墨印,另一
               scholars at the court, although the text is designed in imitation of the emperor’s
                                                                                    個版本鈐朱印,但兩者的序言皆用朱印。
               own calligraphy.  There are two versions of the 1696 edition, apparently printed
               from different blocks, one of which has the seals on the illustration pages in black   雖然康熙《御製耕織圖》是古往今來最流
               and the other with the seals in red.  Both versions have red seals appended to the   行的刊本,但雍乾二朝仍迭有新作。乾隆
               preface.  While the Kangxi Yuzhi Gengzhi tu remained and still remains the best-   年間,蔣溥曾經修改此圖。據稱,此乃圓
               known version of this publication, further versions were produced during the   明園貴積山堂收藏的唯一摹本,但乾隆於
               Yongzheng and Qianlong reigns.  In the Qianlong version, the illustrations were   1769 年親自為畫配詩,此後將之移放多
               revised by the painter 蔣溥 Jiang Pu. It has been suggested that this was a single   稼軒。


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