Silk Weaving, after Lou Shou 摹樓璹〈蠶織圖〉
Item
Title
Silk Weaving, after Lou Shou 摹樓璹〈蠶織圖〉
Description
Artist Inscriptions: attributed to Cheng Qi 程棨 (active second-half 13th century) Twenty-four
poems (8x5) by Lou Shou 樓璹 (1090–1162).18 Each poem is written in a discretely
delineated panel that precedes the scene to which it relates.Each: Title, plus 4 columns, seal script. Transcription by unknown calligrapher in standard
script at right. (Note: Transcription below follows the seal script text; variant forms and alternate readings
introduced in the standard script are noted in footnotes.)
1. Yu can 浴蠶 (bathing the silkworm eggs)
農桑將有事，時節過禁煙，輕風歸燕日，小雨浴蠶天。春縿 19卷縞袂，盆池弄清泉，深宮
想齋戒，躬桑率民先。
2. Xia can 下蠶 (hatching the eggs)
榖雨無幾日，谿山煗 20風高，華蠶初破殼，落紙細於毛。
柔桑摘蟬翼，蔌蔌才容刀，茅檐紙窻明，未覺眼力勞。
3. Wei can 餵蠶 (feeding the worms)
蠶兒初飯時，桑葉如錢許，攀條摘鵝黃，藉紙觀螘 21聚。
屋頭草木長，窗下兒女語，日長人頗閒，鍼線隨緝補。
4. Yi mian 一瞑 22 (first molting)
蠶瞑白日靜，鳥語青春長，袌 23脛聊假寐，孰能事梳妝。
水邊多麗人，羅衣蹋春陽，春陽無限思，豈知問農桑。
5. Er mian 二瞑 (second molting)
吳蠶一再瞑，竹屋下簾幕，拍手弄嬰兒，一笑姑不惡。風來麥秀寒，雨過桑沃若，日高蠶
未起，谷鳥鳴百箔。
6. San mian 三瞑 (third molting)
屋裏蠶三瞑，門前春過半，桑麻綠陰合，風雨長檠暗。
葉底蟲絲繁，臥作字畫短，偷閒一枕肱，夢與楊華 24亂。
7. Fen bo 分箔 (separating silkworms onto screens) 三瞑三起餘，飽葉蠶局促，眾多旋分箔，蚤
晚磓滿屋。
郊原過新雨，桑柘沾 25濃綠，竹間快活吟，慙愧麥飽孰 26。
8. Cai sang 採桑 (gathering mulberry leaves)
吳兒歌採桑，桑下青春深，鄰里講歡好，遜畔無欺侵。
筠籃各自攜，筠梯高倍尋，黃鸝飽紫葚，啞吒 27鳴綠陰。
9. Da qi 大起 (awakening)
盈箱大起時，食葉聲似雨，春風老不知，蠶婦忙如許。
呼兒刈青麥，朝飯已過午，妖歌得綾羅，不易青帬女。
10. Zhuo ji 捉績 (choosing the mature silkworms)
麥黃雨初足，蠶老人愈忙，辛勤減瞑食，顚倒著衣裳。 絲腸映綠葉，練練金色光，
松明照夜屋，杒孙嗁 28東岡。
11. Shang cu 上蔟 (setting up the trellises)
采采綠葉空，剪剪白茅短，散 29蔟輕放手，蠶老絲腸媆。
山市浮晴嵐，風日作妍煗，會看繭如罋 30，纍纍光眩眼。
12. Zhi bo 炙箔 (warming the screens)
峨峨爇薪炭，重重下簾幕，初出蟲結網，遽若雪滿箔。老翁不勝勤，候火珠汗落，得閒兒
女子，困臥呼不覺。
13. Xia cu 下蔟 (taking down the trellises; or selecting cocoons)
晴明開雪屋，門巷排銀山，一秊蠶事辦，下蔟春向闌。鄰里兩相賀，翁媼弌 31笑歡，后妃
應獻繭，喜色天顏。
14. Ze jian 擇繭 (harvesting cocoons)
大繭至八蠶，小繭止獨蛹，繭衣繞指柔，收拾擬何用。
冬來作縹絖，與兒禦寒凍，衣帛非不能，責 32多租稅重。
15. Jiao jian 窖繭 (storing cocoons)
槃 33中水晶鹽，井上梧桐葉，陶器固封泥，窖繭過旬浹。
門前春水生，布榖催畚鍤，明朝蹋繅車，車輪纏白氎。
16. Sao si 繅絲 (reeling off silk from the cocoons)
連村煮繭香，解事誰家孃，盈盈意媚竈，拍拍手探湯。上盆顏色好，轉軸頭緒長，晚來得
少休，女伴語隔牆。
17. Can e 蠶蛾 (silkworm moths)
蛾初脫纏縳，如蝶栩栩然，得偶粉翅光，散子金粟圜。歲月判悠悠，種嗣期緜緜，送蛾臨
遠水，蚤歸屬明秊。
18. Si xie 祀謝 (offering thanks)
春前作蠶市，盛事傳西蜀，此邦亯 34先蠶，再拜絲滿目。
馬革裹玉肌，能神不為辱，雖云事渺茫，解與民為福。
19. Lao si 絡絲 (spooling)
兒夫督機絲，輸官趁時節，向來催租瘢，正為坐踰越。
朝來掉籆 35勤，寧復辭腕脫，辛勤夜未瞑，敗屋燈明滅。
20. Jing 經 (preparing warp threads)
素絲頭緒多，羨君好安排，青鞵不動塵，緩步交去來。脉脉意欲亂，眷眷首重回，王言正
如絲，亦付經綸才。
21. Wei 緯 (preparing the weft threads)
浸緯供織作，寒女兩髻丫，繾綣一縷絲，成就百種華。
弄水春筍寒，卷輪蟾景 36鈄，人閒 37小阿香，晴空轉靁 38車。
22. Zhi 織 (weaving silk)
青鐙映幃幕，絡緯鳴井欄，軋軋揮素手，風露淒已寒。
辛勤度幾梭，始復成弌 39端，寄言羅綺伴，當念麻苧單。
23. Pan hua 攀華 (weaving patterned silk) 時態尚新巧，女工慕精勤，心手暗相應，照
眼華紛紜。殷勤挑錦字，曲折讀回文，更將無限思，織作鴈背雲。
24. Jian bo 剪帛 (cutting silk)
低眉 40事機杼，細意把刀尺，盈盈彼美人，剪剪其束帛。輸官給邊用，辛苦何足惜，大勝
漢繚綾，粉涴不再著。
[Poems not translated]
Signature: none
Date: none
Seals: (2) – Cheng Qi 程棨 (active second-half 13th century)41
Yifu『儀甫』(rectangle relief) – painting 24/col. 1, paper join, mid left
Suizhai『隨齋』(square relief) – painting 24/col. 1, paper join, lower left
poems (8x5) by Lou Shou 樓璹 (1090–1162).18 Each poem is written in a discretely
delineated panel that precedes the scene to which it relates.Each: Title, plus 4 columns, seal script. Transcription by unknown calligrapher in standard
script at right. (Note: Transcription below follows the seal script text; variant forms and alternate readings
introduced in the standard script are noted in footnotes.)
1. Yu can 浴蠶 (bathing the silkworm eggs)
農桑將有事，時節過禁煙，輕風歸燕日，小雨浴蠶天。春縿 19卷縞袂，盆池弄清泉，深宮
想齋戒，躬桑率民先。
2. Xia can 下蠶 (hatching the eggs)
榖雨無幾日，谿山煗 20風高，華蠶初破殼，落紙細於毛。
柔桑摘蟬翼，蔌蔌才容刀，茅檐紙窻明，未覺眼力勞。
3. Wei can 餵蠶 (feeding the worms)
蠶兒初飯時，桑葉如錢許，攀條摘鵝黃，藉紙觀螘 21聚。
屋頭草木長，窗下兒女語，日長人頗閒，鍼線隨緝補。
4. Yi mian 一瞑 22 (first molting)
蠶瞑白日靜，鳥語青春長，袌 23脛聊假寐，孰能事梳妝。
水邊多麗人，羅衣蹋春陽，春陽無限思，豈知問農桑。
5. Er mian 二瞑 (second molting)
吳蠶一再瞑，竹屋下簾幕，拍手弄嬰兒，一笑姑不惡。風來麥秀寒，雨過桑沃若，日高蠶
未起，谷鳥鳴百箔。
6. San mian 三瞑 (third molting)
屋裏蠶三瞑，門前春過半，桑麻綠陰合，風雨長檠暗。
葉底蟲絲繁，臥作字畫短，偷閒一枕肱，夢與楊華 24亂。
7. Fen bo 分箔 (separating silkworms onto screens) 三瞑三起餘，飽葉蠶局促，眾多旋分箔，蚤
晚磓滿屋。
郊原過新雨，桑柘沾 25濃綠，竹間快活吟，慙愧麥飽孰 26。
8. Cai sang 採桑 (gathering mulberry leaves)
吳兒歌採桑，桑下青春深，鄰里講歡好，遜畔無欺侵。
筠籃各自攜，筠梯高倍尋，黃鸝飽紫葚，啞吒 27鳴綠陰。
9. Da qi 大起 (awakening)
盈箱大起時，食葉聲似雨，春風老不知，蠶婦忙如許。
呼兒刈青麥，朝飯已過午，妖歌得綾羅，不易青帬女。
10. Zhuo ji 捉績 (choosing the mature silkworms)
麥黃雨初足，蠶老人愈忙，辛勤減瞑食，顚倒著衣裳。 絲腸映綠葉，練練金色光，
松明照夜屋，杒孙嗁 28東岡。
11. Shang cu 上蔟 (setting up the trellises)
采采綠葉空，剪剪白茅短，散 29蔟輕放手，蠶老絲腸媆。
山市浮晴嵐，風日作妍煗，會看繭如罋 30，纍纍光眩眼。
12. Zhi bo 炙箔 (warming the screens)
峨峨爇薪炭，重重下簾幕，初出蟲結網，遽若雪滿箔。老翁不勝勤，候火珠汗落，得閒兒
女子，困臥呼不覺。
13. Xia cu 下蔟 (taking down the trellises; or selecting cocoons)
晴明開雪屋，門巷排銀山，一秊蠶事辦，下蔟春向闌。鄰里兩相賀，翁媼弌 31笑歡，后妃
應獻繭，喜色天顏。
14. Ze jian 擇繭 (harvesting cocoons)
大繭至八蠶，小繭止獨蛹，繭衣繞指柔，收拾擬何用。
冬來作縹絖，與兒禦寒凍，衣帛非不能，責 32多租稅重。
15. Jiao jian 窖繭 (storing cocoons)
槃 33中水晶鹽，井上梧桐葉，陶器固封泥，窖繭過旬浹。
門前春水生，布榖催畚鍤，明朝蹋繅車，車輪纏白氎。
16. Sao si 繅絲 (reeling off silk from the cocoons)
連村煮繭香，解事誰家孃，盈盈意媚竈，拍拍手探湯。上盆顏色好，轉軸頭緒長，晚來得
少休，女伴語隔牆。
17. Can e 蠶蛾 (silkworm moths)
蛾初脫纏縳，如蝶栩栩然，得偶粉翅光，散子金粟圜。歲月判悠悠，種嗣期緜緜，送蛾臨
遠水，蚤歸屬明秊。
18. Si xie 祀謝 (offering thanks)
春前作蠶市，盛事傳西蜀，此邦亯 34先蠶，再拜絲滿目。
馬革裹玉肌，能神不為辱，雖云事渺茫，解與民為福。
19. Lao si 絡絲 (spooling)
兒夫督機絲，輸官趁時節，向來催租瘢，正為坐踰越。
朝來掉籆 35勤，寧復辭腕脫，辛勤夜未瞑，敗屋燈明滅。
20. Jing 經 (preparing warp threads)
素絲頭緒多，羨君好安排，青鞵不動塵，緩步交去來。脉脉意欲亂，眷眷首重回，王言正
如絲，亦付經綸才。
21. Wei 緯 (preparing the weft threads)
浸緯供織作，寒女兩髻丫，繾綣一縷絲，成就百種華。
弄水春筍寒，卷輪蟾景 36鈄，人閒 37小阿香，晴空轉靁 38車。
22. Zhi 織 (weaving silk)
青鐙映幃幕，絡緯鳴井欄，軋軋揮素手，風露淒已寒。
辛勤度幾梭，始復成弌 39端，寄言羅綺伴，當念麻苧單。
23. Pan hua 攀華 (weaving patterned silk) 時態尚新巧，女工慕精勤，心手暗相應，照
眼華紛紜。殷勤挑錦字，曲折讀回文，更將無限思，織作鴈背雲。
24. Jian bo 剪帛 (cutting silk)
低眉 40事機杼，細意把刀尺，盈盈彼美人，剪剪其束帛。輸官給邊用，辛苦何足惜，大勝
漢繚綾，粉涴不再著。
[Poems not translated]
Signature: none
Date: none
Seals: (2) – Cheng Qi 程棨 (active second-half 13th century)41
Yifu『儀甫』(rectangle relief) – painting 24/col. 1, paper join, mid left
Suizhai『隨齋』(square relief) – painting 24/col. 1, paper join, lower left
Source
https://asia.si.edu/object/F1954.20
Creator
Cheng Qi (attributed to) (傳) 程棨
annotates
Outside label slip: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Eight characters, running script
程棨《摹樓璹蠶織圖》。
Weaving Silk, after Lou Shou, by Cheng Qi
Seal: (1)
Jixia linchi『幾暇臨池』 1 (square intaglio) – (1/2)
Mounting silk 1: Beige silk with phoenix and clouds motif. With two (2) imperial seals half on
Frontispiece 1.
Frontispiece 1:
2
Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Dimensions: 31.7 x 48.5 cm (12-1/2 x 19-1/8 in)
24 columns, running script2
向蔣溥進此圖，自序卷首，題為劉松年蹟，已入《石渠寶笈》矣。玆得松年《耕作圖》，
觀其筆法，與此圖相類。因以二卷參校之，則紙幅長短、畫篆體格，悉無弗合。《耕圖》
卷後，姚式跋云: 『《耕織圖》二卷，文簡程公曾孫棨儀甫繪而篆之』。《織圖》卷後，
趙子俊跋亦云: 『每節小篆，皆隨齋手題』。今兩卷押縫，皆有『儀甫』、『隨齋』二印
，其為程棨摹樓璹圖本并書其詩無疑。細觀圖內『松年筆』三字，腕力既弱，復無印記，
蓋後人妄以松年有曾進《耕織圖》之事，從而傅會之，而未加深考，致以訛傳訛耳。至《
耕圖》『紹興』小璽，則又作偽者不知棨為元時人，誤添蛇足矣。又考兩卷題跋，姚式而
外諸人，皆每卷分題，則二卷在當時本相屬附，後乃分佚單行，故《耕圖》有項元汴收藏
諸印記，而《織圖》則無，可以驗其離合之由矣。今既為延津之合，因命同篋襲弆，置諸
御園多稼軒。軒之北為貴織山堂，皆皇考御額，所以重農桑，而示後世也。昔皇祖題《耕
織圖》泐板行世。今得此佳蹟合并，且有關重民衣食之本，亦將勒之貞石，以示家法於有
永。因考其源委，並識兩卷中，兼用璹韻題圖隙。至原書及偽款，仍存其舊，蓋所重在訂
證覈實前此之誤，固不必為之文飾，亦瑕瑜不揜之道也。已丑上元後六日，御筆。
Previously Jiang Pu [1708–1761] presented this picture [to the throne] and [wrote] a preface at the
beginning of the scroll identifying it as a work by Liu Songnian [ca. 1150–after 1225], which
indeed has already been entered in the Shiqu baoji [catalogue of the imperial collection].3 Now We
have acquired [Liu] Songnian’s Tilling Rice, and its brushwork is observably quite similar to this scroll. Upon further comparison of the two scrolls, the dimensions of their paper as well as the
styles of both their painting and seal script [inscriptions] are entirely identical. At the end of the
Tilling scroll, the colophon by Yao Shi [died between 1314–20] says, ―[Cheng] Qi, [courtesy
name] Yifu, who was the great-grandson of Duke Cheng Wenjian [Cheng Lin, 988–1056],4 painted
[the illustrations] for the two scrolls Tilling and Weaving and [wrote out the poems] in seal script,‖
while at the end of the Weaving scroll, the colophon by Zhao Zijun [see below, colophon 1] says,
―each passage of seal script was written by the hand of Suizhai.‖ Now, as the paper joins
[between the last illustration and first colophon] of each scroll bear [impressions of the same] two
seals reading Yifu and Suizhai, there can be no doubt that it was Cheng Qi, who made [these] copies
after Lou Shou’s compositions and wrote out the poems. Upon closely examining the threecharacter [artist signatures] on both paintings, reading ―brushed by [Liu] Songnian,‖ [one finds
that] the writing is quite weak and as there are none of [Liu’s] seal impressions, it is probable that
some later person— without making any deeper investigation [of the facts]—fallaciously added
[the signatures] to accord with the story that [Liu] Songnian had once presented the paintings
Tilling and Weaving [to the throne], thus perpetuating one falsehood through another. As for the
small [Song dynasty] imperial seal reading Shaoxing that appears on Tilling, this was also
[impressed] because the forger [of the seal] did not know that [Cheng] Qi was a man of the Yuan
dynasty, and so he erroneously ―added feet to the snake.‖ On further investigating the colophons
[that appear] on the two scrolls, all of the writers except Yao Shi separately inscribed each [scroll],
so [it is clear that] the two scrolls were together at some point, but later became separated and
circulated individually, which can be verified by [the fact that] Tilling bears numerous collector
seals of Xiang Yuanbian, while Weaving has none. As the two scrolls have now been [miraculously
reunited as the two swords] at Yan Ford, We have ordered that they be kept together in the same
box, and have placed them in the Duojia Pavilion in the imperial garden [of the Yuanmingyuan
palace]. North of the pavilion is Guizhi Mountain Hall, for which Our Late August Father [Emperor Yongzheng] personally provided the name tablets, so as to emphasize agriculture and
sericulture and proclaim [their importance] to later generations. In the past, Our Late August
Grandfather [Emperor Kangxi] inscribed [a set of poems] for the Pictures of Tilling and Weaving,
woodblock prints of which are current in the world. Now We have been able to reunite these [two]
beautiful works, and as they concern the fundamentals of clothing and food for the common
people, We shall also have them engraved on stone, thereby proclaiming Our Family Regulations
for eternity. Accordingly, we have investigated [their history] from beginning to end and written
it on both scrolls, and have [composed a set of poems] using [Lou] Shou’s rhymes to inscribe in
open spaces among the pictures. As to the original texts and fake signatures, We shall preserve
them as of old, for what is important is to examine the evidence and establish the facts [so as to
correct] earlier mistakes, and while one must certainly not gloss them over, it is also a way to not
allow such defects to obscure the excellence [of these paintings]. On the sixth day after shangyuan
[fifteenth day of the first lunar month] in the yichou year [February 27, 1769], written by the
Emperor.
Signature: 御
the Emperor
Date: 已丑上元後六日
sixth day after shangyuan [fifteenth day of the first lunar month] in the
yichou year [February 27, 1769]
Seals: (2)
Qianlong『乾』『隆』(linked circle/square relief) – (1/2)
Jixia linchi『幾暇臨池』(square intaglio) – (2/2)
Mounting silk 2:
5
Beige silk with phoenix and clouds motif. With one (1) large imperial seal,
one (1) imperial seal half on Frontispiece 1, and two (2) imperial seals half on Frontispiece 2.
Dimensions: 31.8 x 10.8 cm (12-1/2 x 4-1/4 in)
Frontispiece 2: Jiang Pu 蔣溥 (1708–1761)
Dimensions: 31.8 x 64.1 cm (12-1/2 x 25-1/4 in)
23 columns, standard script 立萬民之命者何，衣食是已。昔聖帝明王知教化之所以興
，必使一夫一婦，舉無不盡其力，而其力之所以能畢用而不自私者，則又積於上之以誠相
感召。雖燕居之耳目心志，一之於祁寒暑雨間，未嘗不如躬履而甘苦之也。謹按三代盛時
，若周家世有哲王，而當日《豳風》一篇，周公言民事者至悉。5間嘗反覆尋玩，於其首章
發端即曰: 『七月流火，九月授衣』6
，然後繼之以『于耜』、『舉趾』7
，而二三章所咏，
又復流連遲日之筐 8
，次序元黃之績 9
，盖既以今歲之終，戒來歲之事 10，且以知『女服事
乎內，男服事乎外』11，一年之中，交相黽勉，而不敢少有休息。至於『嗟我農夫，我稼既
同』12，因是以『躋…堂』、『稱…觥』者 13，終其『為…裳』、『獻豜』之心 14，而忠愛
已無不至。斯則《楚茨》15而下，言耕者類不及織，而後世以圖補詩之所由昉也。宋臣劉松
年《蠶織圖》一卷，自《浴蠶》以至《剪帛》，凡二十四幅，終始詳盡，脉絡分明。又幅
間各綴五言古詩一章，形容之不足而詠歌之，詞致近雅，有可玩味。伏考松年當紹熙時，
在畫苑進《耕織圖》，或者此其一歟 ？夫『生之者眾，為之者疾』16，豈惟良士之職思宜爾
？觀於此而女伴春篝，繅車雪屋，尺絲寸縷間，猶且辛苦經綸之不暇，其在《書》曰，『
所其無逸』，念『小民之依』17，夫亦重可念也已。臣蔣溥敬題。
[Annotated, translation forthcoming.] Respectfully inscribed by your servant Jiang Pu.
Signature: 蔣溥
Jiang Pu
Date: none
Seals: (2)
Chen Jiang Pu『臣蔣溥』(square intaglio)
Jing shu『敬書』(square relief)
Mounting silk 3: Beige silk with phoenix and clouds motif. With one (1) large imperial seal,
two (2) smaller imperial seals half on Frontispiece 2, two (2) imperial seals half on painting, and
two (2) other collector seals.
Dimensions: 31.9 x 12.4 cm (12 9/16 x 4 7/8 in)
Painting: 11 sheets of paper, with twenty-four scenes of silk production, each preceded by a poetic
cript, together with a transcription in standard script (see below). Scene 24
ated artist’s signature of the Southern Song court painter Liu Songnian 劉松
225), with no seal.
inscription in seal s
bears a spurious und
年 (ca. 1150–after 1
Signature: 松年筆
Brushed by [Liu] Songnian
Other Inscriptions: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Twenty-four poems (8x5) using Lou Shou’s rhymes, running script.42 Each poem written
either in picture frame of scene to which it relates, or above Lou Shou poem, followed by
one or two Qianlong seals. Number of columns varies depending on space and location.
Calligraphy accompanied by twenty-nine (29) imperial seals.
1. Yu can 浴蠶 (bathing the silkworm eggs)
浴蠶同浸種，溫水炊輕煙，農桑事齊興，衣食均民天。紙種收隔歲，潤灑百花泉。比戶恐
失時，力作各爭先。
Seal: (1)
Qianlong chenhan『乾隆宸翰』(square relief)
2. Xia can 下蠶 (hatching the eggs)
吳天氣漸暖，鋪紙種漸高，破殼成蟻形，綠色細似毛。輕刮下諸紙，鵝羽揮如刀，女伴絕
往來，俶載蠶婦勞。
Seal: (1)
Xiesheng『寫生』(rectangle relief) – (1/2)
3. Wei can 餵蠶 (feeding the worms)
猗猗陌上桑，吐葉剛少許，摘來飼烏兒，筠筐食共聚。氣候物盡知，林外倉庚語，設無蠶
績功，袞職其誰補。
Seals: (2)
Bide『比德』(square relief)
Langrun『朗潤』(square intaglio)
4. Yi mian 一眠 (first molting) 蠶飽初欲眠，蠶忙事正長，少婦獨偷閒，深閨理新粧。中婦抱幼
子，趁暇哺向陽，大婦縫裳衣，明朝著採桑。
Seal:
Zhongxin zhi shuijing『中心止水靜』(oval relief)
5. Er mian 二眠 (second molting)
初眠蛾蛻皮，村屋低垂幙，七日變如故，首喙壯不惡。於候當二眠，上架依前若，弗食復
弗動，圓筐貼細箔。
Seal: (1)
Congyun『叢雲』(rectangle relief) – (2/2)
6. San mian 三眠 (third molting)
再起蠶漸長，桑葉可食半，是時葉亦繁，陌頭陰欲暗。篝鐙視女郎，晝長夜駸短，三眠擬
三耘，農桑功不亂。
Seal: (1)
Liaoyi guan shengyi『聊以觀生意』(rectangle intaglio)
7. Fen bo 分箔 (separating silkworms onto screens)
眠起有定程，不緩亦不促，逮三蠶大長，分箔陳盈屋。薙疏要及時，蝡蝡色澤綠，移東復
置西，吳孃工作熟。
Seals: (2)
Jixia yiqing『幾暇怡情』 43 (square intaglio)
De jiaqu『得佳趣』(square intaglio)
8. Cai sang 採桑 (gathering mulberry leaves)
柔桑採春初，遠揚採春深，飼之別早遲，時序毋相侵。蠶老需葉多，升樹勞搜尋，雨則風
諸陽，燥又潤諸陰。
Seal: (1)
Qiwu『齊物』(rectangle relief)
9. Da qi 大起 (awakening)
木架庋筠箔，室中避風雨，蟫首食全葉，須臾盡寸許。喜溫不耐熱，引涼向日午，酌劑適
物性，嗟哉彼貧女。
Seal: (2)
Guxiang『古香』(square intaglio)
Taibao『太寶』(square relief)
10. Zhuo ji 捉績 (choosing the mature silkworms)
家家閉外戶，知是為蠶忙，夙夜視箔間，弊衣復短裳。綠形將變白，絲腸漸含光，揀擇戒
遲疾，齊棟堆如岡。
Seal: (2)
Huixin buyuan『會心不遠』(square intaglio)
De chong fu『德充符』(square relief)
11. Shang cu 上簇 (setting up the trellises)
束草置箔間，不長亦不短，蠶足緣之上，肖翹力猶軟。喉明欲繭候，清和律已暖，誰謂村
舍中，蒼山忽滿眼。
Seal: (1)
Si wuxie『思無邪』(rectangle relief)
12. Zhi bo 炙箔 (warming the screens)
蠶性究畏寒，終朝不捲幕，仍期成繭速，火攻用炙箔。絲蟲將結網，銀光鋪錯落，獸炭揀
良材，率欲無煙覺。
Seal: (1)
Chengguan『澂觀』(rectangle relief)
13. Xia cu 下簇 (taking down the trellises; or selecting cocoons)
紅蠶既作蠒，堆簇如雪山，取下即盛筐，秤視倚屋闌。蠶一繭獲十，豐熟婦女歡，迴憶昔
蹙眉，幸博今開顏。
Seal: (1)
Hanhui『含輝 44』(rectangle relief)
14. Ze jian 擇繭 (harvesting cocoons)
宜棉誇八蠶，宜絲貴獨蛹，一家聚擇之，分品各殊用。絲待人之買，綿禦已之凍，勞而弗
享報，女紅可勿重。
Seal: (1)
Zhonghe『中和』(oval relief)
15. Jiao jian 窖繭 (storing cocoons)
蛾若破繭出，絲斷如敗葉，期有甕窖法，封泥固周浹。深埋取寒氣，掘地揮鋤鍤，何必詡
高昌，草實稱白氈。
Seal: (1)
Qingwan『清玩』(rectangle relief)
16. Sao si 繅絲 (reeling off silk from the cocoons)
繭終絲之始，猶未閒女娘，竈下颺輕煙，釜中沸熱湯。度戒過不及，乃得絲美長，轉軸仔
細看，梧月已上牆。
Seal: (1)
Xishang zhen『席上珍』(rectangle intaglio)
17. Can e 蠶蛾 (silkworm moths)
視繭圓與尖，雌雄別較然，擇美待化蛾，齧繭出其圜。成偶經晝夜，布子密且綿，紙種敬
以收，默祝富來年。
Seal: (1)
Quyi zai guangqiu『取益在廣求』(rectangle relief)
18. Si xie 祀謝 (offering thanks)
絲成合報謝，東吳復西蜀，人以神虔心，神以人寓目。盈几銀鏤陳，蠶攻佑蒙辱，雖酬已
往恩，仍禱方來福。
Seal: (1)
Chuilu『垂露』(rectangle relief) – (1/2)
19. Lao si 絡絲 (spooling)
繰絲甫報畢，絡絲應及節，工作有次序，此風盛吳越。麤細卒未分，要使無斷脫，轉篗 45
對篝鐙，明河影欲滅。
Seal: (1)
Sanxitang『三希堂』(rectangle intaglio) – (1/2)
20. Jing 經 (preparing the warp threads)
既絡絲納簆，置軸兩端排，引以為直縷，理繁徐往來。條貫期畢就，比弦無曲回，設擬悖
如綍，敢曰經有才。
Seal: (1)
Suianshi『隨安室』(rectangle intaglio)
21. Wei 緯 (preparing the weft threads)
浸緯非細工，付之小女丫，誰知素絲中，乃具種種華。精次於是別，轉輪引緒斜，由分漸
成合，小大殊軸車。
Seal: (1)
Yunxia si『雲霞思』(rectangle relief) – (1/2)
22. Zhi 織 (weaving silk)
闊室置機架，有軸亦有欄，往還拋玉梭，那辭素手寒。錯綜乃成功，萬絲得一端，織女若
是勞，布亦已原單。
Seal: (1)
Luohua mandi jie wenzhang『落華滿地皆文章』(square intaglio) – 2/2
23. Pan hua 攀花 (weaving patterned silk)
椎輪生大輅，踵事何太勤，素帛增攀華，絲縷益糾紜。既成黼黻章，亦煥河洛文，為者自
不知，如山出五雲。
Seal: (1)
Jingzhong guan zaohua『靜中觀造化』(rectangle relief)
24. Jian bo 剪帛 (cutting silk) 精麤不中數，廣狹不中尺，王制弗鬻市，要義寓翦帛。辛苦豈
易成，欲裁心自惜，耕勞蠶亦勞，視此吟篇著。
已丑新正，御題。
[Poems not translated.] New year’s day of the jichou year [February 7, 1769], inscribed by the
Emperor.
Signature: 御
the Emperor
Date: 已丑新正
New year’s day of the jichou year [February 7, 1769]
Seal: (1)
Qianlong『乾』『隆』(linked circle/square relief) – (2/2)
Colophons:
(6) — on three sheets of different paper
1. Zhao Mengyu 趙孟籲 (active 1290s–1330s)
Sheet 1: paper continuously mounted with painting; same kind of paper.
Dimensions: 31.9 x 23.8 cm (12-9/16 x 9-3/8 in)
4 columns, running script 《耕織圖》二卷，乃程氏舊藏，每節小篆，皆隨齋手題。流
傳于世，使享膏梁、衣紈綺者，知農夫、蠶婦之工力也。子俊。
The two scrolls [that comprise the] Illustrations of Tilling and Weaving were in the former
collection of the Cheng family, and each passage of small seal script was inscribed by the hand of
Suizhai [Cheng Qi]. Circulating in the world, the [pictures] bring those who enjoy rich fare and
wear fine silks to understand the hard work of farmers and silk-makers. [Zhao] Zijun.
Signature: 子俊
Zijun
Date: none
Seals: (1)
Zhao shi Zijun『趙氏子俊』(square relief)
2. Fan Qi 范奇 (1261–after 1341)
Sheet 2: paper continuously mounted with preceding; different paper.
Dimensions: 31.9 x 65.2 cm (12 9/16 x 25 11/16 in)
11 columns, running script
疇昔嘗寓玉堂直署，有以《豳風圖》徵予語。固知棄任田正，匊奏粒民，懋遷財用，變化
居積，不獨虞夏之際，『萬邦作乂』，而千萬古民生賴焉。周公作詩以戒王，誦風化所繇
，捧卷伏讀，逮今凜凜生氣，不止『于耜』『舉趾』，『饁彼南畝』，如此圖而已也。遜
齋一日坐予別墅，開闔瑤軸，神爽飛越。芸邊老人范奇八十一歲書。
Once long ago when I was serving temporarily in the Jade Hall [Hanlin Academy], I was invited
to speak about the Illustrations of the Odes of Bin.
46 So I assuredly know that when the Master of
the fields abandoned his office and presented a handful of grain to feed the people, encouraged
them to trade and engage in financial transactions and to exchange their accumulated stores, it was
not only in the era of Yu [Shun] and Xia [Yu] that ―all the nations were ably governed,‖ but for a
million years people’s lives have depended on it.47…One day Xunzhai was sitting in my country
estate and opened the cover of this precious scroll, and my spirit soared in exhilaration. Written by
Yunbian laoren Fan Qi in his eighty-first year.
Signature: 芸邊老人范奇
Yunbian laoren Fan Qi
Date: none (1341?)
Seals: (3)
Lu x-x『盧□□』(square relief)
Jingmen Xunyang Fan shi Shiqi Daosheng fu yin『旌門潯陽范氏士奇道
升父印』(square relief)
Yunxuan『芸軒』(square relief)
Sheet 3: Continuously mounted with preceding colophon; different paper. Bears three
colophons: Colophons 3–5. Dimensions: 31.9 x 208.5 cm (12 9/16 x 82 1/16 in)
3. Qiu Yuan 仇遠 (1247–after 1327)
7 columns, running-standard script.
Poem (8x7).
輕紈文綺出自蠶，丹青寫作圖畫看，採桑養蠶最辛苦，滿望夏織冬禦寒，誰知有絲不待織
，私逋未了先輸官，蠶婦寸絲不着體，豪家墻壁被紈綺。48 山村老民仇遠。
[Poem not translated.] Old Commoner of Mountain Village, Qiu Yuan.
Signature: 山村老民仇遠
Shancun laomin Qiu Yuan
Date: none
Seals: (1)
Shancun Qiu Yuan Renjin『山村仇遠仁近』(square relief)
4. Nie Qixiu 聶奇秀 (1250–after 1325)
12 columns, clerical-standard script.
Poem (8x7).
綠樹枝頭百箔唫，村南村北天陰陰，竹梯踏折東風惡，筠籠擕來老雨淋，去歲無蠶桑似土
，今年有繭葉如金，良工漫費丹青筆，難寫羅敷一片心。時泰定歲次旃蒙赤奮若中和節，
康山七十六歲翁書于益清。
[Poem not translated.] On the festival of zhonghe [second day of the second lunar-month] in the
year of zhanmeng-chifenruo [yichou] of the Taiding reign period [March 16, 1325],49 written at
Yiqing by the Old Man from Kangshan in his seventy-sixth year.
Signature: 康山七十六歲翁
Old Man from Kangshan in his seventy-sixth year
Date: 時泰定歲次旃蒙赤奮若中和節
on the festival of zhonghe [second day of the second lunar-month] in the
year of zhanmeng-chifenruo [yichou] of the Taiding reign period [March 16,
1325]
Seals: (1)
Nie Qixiu『聶奇秀』(square relief)
5. Chen Huan 陳煥 (unidentified – 14th century?)
5 columns, running script.
Poem (4x7).
蠶成帛可衣老者，古意日遠圖謾寫，機間織婦恍有言，好看笑笑有聲畫。
尋陽陳煥。
[Poem not translated.] Chen Huan of Xunyang.
Signature: 陳煥
Chen Huan
Date: none
Seals: (3)
Zhenyi jia Chen Huan yin『真逸家陳煥印』(square relief)
Zhangbo『章伯』(square intaglio)
Xiaogu daoren『肖谷道人』(square relief)
6. Wu Wei 吳煟 (unidentified – 14th century?)
5 columns, running script.
『社而賦事，烝而獻攻』，此古制也。今之躬婦事者，寧不知力此哉！此圖可無作也，然
且作之，當益用勸。使無二月賣新之憂，一蠶十衣之迫，則『大寒索裘』，『吾知免夫！
』山中癡翁吳煟。
―At the spring sacrifice, they declare the actions they will take; at the winter sacrifice, they
present the results they have achieved,‖ such is the ancient regulation.50 So how could anyone today
who performs women’s work not know to put all her might into it! These pictures need not have
been made, so [the reason] they were made must be to provide even greater encouragement. For if
there is no anxiety over having silk to sell in the second month, nor pressure to get ten robes out of
each worm, then from ―looking for furs when it’s already cold,‖ ―I know I’ve escaped!‖51 Crazy
Old Man in the Mountains, Wu Wei.
Signature: 山中癡翁吳煟
Crazy Old Man in the Mountains, Wu Wei
Date: none
Seals: none
Eight characters, running script
程棨《摹樓璹蠶織圖》。
Weaving Silk, after Lou Shou, by Cheng Qi
Seal: (1)
Jixia linchi『幾暇臨池』 1 (square intaglio) – (1/2)
Mounting silk 1: Beige silk with phoenix and clouds motif. With two (2) imperial seals half on
Frontispiece 1.
Frontispiece 1:
2
Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Dimensions: 31.7 x 48.5 cm (12-1/2 x 19-1/8 in)
24 columns, running script2
向蔣溥進此圖，自序卷首，題為劉松年蹟，已入《石渠寶笈》矣。玆得松年《耕作圖》，
觀其筆法，與此圖相類。因以二卷參校之，則紙幅長短、畫篆體格，悉無弗合。《耕圖》
卷後，姚式跋云: 『《耕織圖》二卷，文簡程公曾孫棨儀甫繪而篆之』。《織圖》卷後，
趙子俊跋亦云: 『每節小篆，皆隨齋手題』。今兩卷押縫，皆有『儀甫』、『隨齋』二印
，其為程棨摹樓璹圖本并書其詩無疑。細觀圖內『松年筆』三字，腕力既弱，復無印記，
蓋後人妄以松年有曾進《耕織圖》之事，從而傅會之，而未加深考，致以訛傳訛耳。至《
耕圖》『紹興』小璽，則又作偽者不知棨為元時人，誤添蛇足矣。又考兩卷題跋，姚式而
外諸人，皆每卷分題，則二卷在當時本相屬附，後乃分佚單行，故《耕圖》有項元汴收藏
諸印記，而《織圖》則無，可以驗其離合之由矣。今既為延津之合，因命同篋襲弆，置諸
御園多稼軒。軒之北為貴織山堂，皆皇考御額，所以重農桑，而示後世也。昔皇祖題《耕
織圖》泐板行世。今得此佳蹟合并，且有關重民衣食之本，亦將勒之貞石，以示家法於有
永。因考其源委，並識兩卷中，兼用璹韻題圖隙。至原書及偽款，仍存其舊，蓋所重在訂
證覈實前此之誤，固不必為之文飾，亦瑕瑜不揜之道也。已丑上元後六日，御筆。
Previously Jiang Pu [1708–1761] presented this picture [to the throne] and [wrote] a preface at the
beginning of the scroll identifying it as a work by Liu Songnian [ca. 1150–after 1225], which
indeed has already been entered in the Shiqu baoji [catalogue of the imperial collection].3 Now We
have acquired [Liu] Songnian’s Tilling Rice, and its brushwork is observably quite similar to this scroll. Upon further comparison of the two scrolls, the dimensions of their paper as well as the
styles of both their painting and seal script [inscriptions] are entirely identical. At the end of the
Tilling scroll, the colophon by Yao Shi [died between 1314–20] says, ―[Cheng] Qi, [courtesy
name] Yifu, who was the great-grandson of Duke Cheng Wenjian [Cheng Lin, 988–1056],4 painted
[the illustrations] for the two scrolls Tilling and Weaving and [wrote out the poems] in seal script,‖
while at the end of the Weaving scroll, the colophon by Zhao Zijun [see below, colophon 1] says,
―each passage of seal script was written by the hand of Suizhai.‖ Now, as the paper joins
[between the last illustration and first colophon] of each scroll bear [impressions of the same] two
seals reading Yifu and Suizhai, there can be no doubt that it was Cheng Qi, who made [these] copies
after Lou Shou’s compositions and wrote out the poems. Upon closely examining the threecharacter [artist signatures] on both paintings, reading ―brushed by [Liu] Songnian,‖ [one finds
that] the writing is quite weak and as there are none of [Liu’s] seal impressions, it is probable that
some later person— without making any deeper investigation [of the facts]—fallaciously added
[the signatures] to accord with the story that [Liu] Songnian had once presented the paintings
Tilling and Weaving [to the throne], thus perpetuating one falsehood through another. As for the
small [Song dynasty] imperial seal reading Shaoxing that appears on Tilling, this was also
[impressed] because the forger [of the seal] did not know that [Cheng] Qi was a man of the Yuan
dynasty, and so he erroneously ―added feet to the snake.‖ On further investigating the colophons
[that appear] on the two scrolls, all of the writers except Yao Shi separately inscribed each [scroll],
so [it is clear that] the two scrolls were together at some point, but later became separated and
circulated individually, which can be verified by [the fact that] Tilling bears numerous collector
seals of Xiang Yuanbian, while Weaving has none. As the two scrolls have now been [miraculously
reunited as the two swords] at Yan Ford, We have ordered that they be kept together in the same
box, and have placed them in the Duojia Pavilion in the imperial garden [of the Yuanmingyuan
palace]. North of the pavilion is Guizhi Mountain Hall, for which Our Late August Father [Emperor Yongzheng] personally provided the name tablets, so as to emphasize agriculture and
sericulture and proclaim [their importance] to later generations. In the past, Our Late August
Grandfather [Emperor Kangxi] inscribed [a set of poems] for the Pictures of Tilling and Weaving,
woodblock prints of which are current in the world. Now We have been able to reunite these [two]
beautiful works, and as they concern the fundamentals of clothing and food for the common
people, We shall also have them engraved on stone, thereby proclaiming Our Family Regulations
for eternity. Accordingly, we have investigated [their history] from beginning to end and written
it on both scrolls, and have [composed a set of poems] using [Lou] Shou’s rhymes to inscribe in
open spaces among the pictures. As to the original texts and fake signatures, We shall preserve
them as of old, for what is important is to examine the evidence and establish the facts [so as to
correct] earlier mistakes, and while one must certainly not gloss them over, it is also a way to not
allow such defects to obscure the excellence [of these paintings]. On the sixth day after shangyuan
[fifteenth day of the first lunar month] in the yichou year [February 27, 1769], written by the
Emperor.
Signature: 御
the Emperor
Date: 已丑上元後六日
sixth day after shangyuan [fifteenth day of the first lunar month] in the
yichou year [February 27, 1769]
Seals: (2)
Qianlong『乾』『隆』(linked circle/square relief) – (1/2)
Jixia linchi『幾暇臨池』(square intaglio) – (2/2)
Mounting silk 2:
5
Beige silk with phoenix and clouds motif. With one (1) large imperial seal,
one (1) imperial seal half on Frontispiece 1, and two (2) imperial seals half on Frontispiece 2.
Dimensions: 31.8 x 10.8 cm (12-1/2 x 4-1/4 in)
Frontispiece 2: Jiang Pu 蔣溥 (1708–1761)
Dimensions: 31.8 x 64.1 cm (12-1/2 x 25-1/4 in)
23 columns, standard script 立萬民之命者何，衣食是已。昔聖帝明王知教化之所以興
，必使一夫一婦，舉無不盡其力，而其力之所以能畢用而不自私者，則又積於上之以誠相
感召。雖燕居之耳目心志，一之於祁寒暑雨間，未嘗不如躬履而甘苦之也。謹按三代盛時
，若周家世有哲王，而當日《豳風》一篇，周公言民事者至悉。5間嘗反覆尋玩，於其首章
發端即曰: 『七月流火，九月授衣』6
，然後繼之以『于耜』、『舉趾』7
，而二三章所咏，
又復流連遲日之筐 8
，次序元黃之績 9
，盖既以今歲之終，戒來歲之事 10，且以知『女服事
乎內，男服事乎外』11，一年之中，交相黽勉，而不敢少有休息。至於『嗟我農夫，我稼既
同』12，因是以『躋…堂』、『稱…觥』者 13，終其『為…裳』、『獻豜』之心 14，而忠愛
已無不至。斯則《楚茨》15而下，言耕者類不及織，而後世以圖補詩之所由昉也。宋臣劉松
年《蠶織圖》一卷，自《浴蠶》以至《剪帛》，凡二十四幅，終始詳盡，脉絡分明。又幅
間各綴五言古詩一章，形容之不足而詠歌之，詞致近雅，有可玩味。伏考松年當紹熙時，
在畫苑進《耕織圖》，或者此其一歟 ？夫『生之者眾，為之者疾』16，豈惟良士之職思宜爾
？觀於此而女伴春篝，繅車雪屋，尺絲寸縷間，猶且辛苦經綸之不暇，其在《書》曰，『
所其無逸』，念『小民之依』17，夫亦重可念也已。臣蔣溥敬題。
[Annotated, translation forthcoming.] Respectfully inscribed by your servant Jiang Pu.
Signature: 蔣溥
Jiang Pu
Date: none
Seals: (2)
Chen Jiang Pu『臣蔣溥』(square intaglio)
Jing shu『敬書』(square relief)
Mounting silk 3: Beige silk with phoenix and clouds motif. With one (1) large imperial seal,
two (2) smaller imperial seals half on Frontispiece 2, two (2) imperial seals half on painting, and
two (2) other collector seals.
Dimensions: 31.9 x 12.4 cm (12 9/16 x 4 7/8 in)
Painting: 11 sheets of paper, with twenty-four scenes of silk production, each preceded by a poetic
cript, together with a transcription in standard script (see below). Scene 24
ated artist’s signature of the Southern Song court painter Liu Songnian 劉松
225), with no seal.
inscription in seal s
bears a spurious und
年 (ca. 1150–after 1
Signature: 松年筆
Brushed by [Liu] Songnian
Other Inscriptions: Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96)
Twenty-four poems (8x5) using Lou Shou’s rhymes, running script.42 Each poem written
either in picture frame of scene to which it relates, or above Lou Shou poem, followed by
one or two Qianlong seals. Number of columns varies depending on space and location.
Calligraphy accompanied by twenty-nine (29) imperial seals.
1. Yu can 浴蠶 (bathing the silkworm eggs)
浴蠶同浸種，溫水炊輕煙，農桑事齊興，衣食均民天。紙種收隔歲，潤灑百花泉。比戶恐
失時，力作各爭先。
Seal: (1)
Qianlong chenhan『乾隆宸翰』(square relief)
2. Xia can 下蠶 (hatching the eggs)
吳天氣漸暖，鋪紙種漸高，破殼成蟻形，綠色細似毛。輕刮下諸紙，鵝羽揮如刀，女伴絕
往來，俶載蠶婦勞。
Seal: (1)
Xiesheng『寫生』(rectangle relief) – (1/2)
3. Wei can 餵蠶 (feeding the worms)
猗猗陌上桑，吐葉剛少許，摘來飼烏兒，筠筐食共聚。氣候物盡知，林外倉庚語，設無蠶
績功，袞職其誰補。
Seals: (2)
Bide『比德』(square relief)
Langrun『朗潤』(square intaglio)
4. Yi mian 一眠 (first molting) 蠶飽初欲眠，蠶忙事正長，少婦獨偷閒，深閨理新粧。中婦抱幼
子，趁暇哺向陽，大婦縫裳衣，明朝著採桑。
Seal:
Zhongxin zhi shuijing『中心止水靜』(oval relief)
5. Er mian 二眠 (second molting)
初眠蛾蛻皮，村屋低垂幙，七日變如故，首喙壯不惡。於候當二眠，上架依前若，弗食復
弗動，圓筐貼細箔。
Seal: (1)
Congyun『叢雲』(rectangle relief) – (2/2)
6. San mian 三眠 (third molting)
再起蠶漸長，桑葉可食半，是時葉亦繁，陌頭陰欲暗。篝鐙視女郎，晝長夜駸短，三眠擬
三耘，農桑功不亂。
Seal: (1)
Liaoyi guan shengyi『聊以觀生意』(rectangle intaglio)
7. Fen bo 分箔 (separating silkworms onto screens)
眠起有定程，不緩亦不促，逮三蠶大長，分箔陳盈屋。薙疏要及時，蝡蝡色澤綠，移東復
置西，吳孃工作熟。
Seals: (2)
Jixia yiqing『幾暇怡情』 43 (square intaglio)
De jiaqu『得佳趣』(square intaglio)
8. Cai sang 採桑 (gathering mulberry leaves)
柔桑採春初，遠揚採春深，飼之別早遲，時序毋相侵。蠶老需葉多，升樹勞搜尋，雨則風
諸陽，燥又潤諸陰。
Seal: (1)
Qiwu『齊物』(rectangle relief)
9. Da qi 大起 (awakening)
木架庋筠箔，室中避風雨，蟫首食全葉，須臾盡寸許。喜溫不耐熱，引涼向日午，酌劑適
物性，嗟哉彼貧女。
Seal: (2)
Guxiang『古香』(square intaglio)
Taibao『太寶』(square relief)
10. Zhuo ji 捉績 (choosing the mature silkworms)
家家閉外戶，知是為蠶忙，夙夜視箔間，弊衣復短裳。綠形將變白，絲腸漸含光，揀擇戒
遲疾，齊棟堆如岡。
Seal: (2)
Huixin buyuan『會心不遠』(square intaglio)
De chong fu『德充符』(square relief)
11. Shang cu 上簇 (setting up the trellises)
束草置箔間，不長亦不短，蠶足緣之上，肖翹力猶軟。喉明欲繭候，清和律已暖，誰謂村
舍中，蒼山忽滿眼。
Seal: (1)
Si wuxie『思無邪』(rectangle relief)
12. Zhi bo 炙箔 (warming the screens)
蠶性究畏寒，終朝不捲幕，仍期成繭速，火攻用炙箔。絲蟲將結網，銀光鋪錯落，獸炭揀
良材，率欲無煙覺。
Seal: (1)
Chengguan『澂觀』(rectangle relief)
13. Xia cu 下簇 (taking down the trellises; or selecting cocoons)
紅蠶既作蠒，堆簇如雪山，取下即盛筐，秤視倚屋闌。蠶一繭獲十，豐熟婦女歡，迴憶昔
蹙眉，幸博今開顏。
Seal: (1)
Hanhui『含輝 44』(rectangle relief)
14. Ze jian 擇繭 (harvesting cocoons)
宜棉誇八蠶，宜絲貴獨蛹，一家聚擇之，分品各殊用。絲待人之買，綿禦已之凍，勞而弗
享報，女紅可勿重。
Seal: (1)
Zhonghe『中和』(oval relief)
15. Jiao jian 窖繭 (storing cocoons)
蛾若破繭出，絲斷如敗葉，期有甕窖法，封泥固周浹。深埋取寒氣，掘地揮鋤鍤，何必詡
高昌，草實稱白氈。
Seal: (1)
Qingwan『清玩』(rectangle relief)
16. Sao si 繅絲 (reeling off silk from the cocoons)
繭終絲之始，猶未閒女娘，竈下颺輕煙，釜中沸熱湯。度戒過不及，乃得絲美長，轉軸仔
細看，梧月已上牆。
Seal: (1)
Xishang zhen『席上珍』(rectangle intaglio)
17. Can e 蠶蛾 (silkworm moths)
視繭圓與尖，雌雄別較然，擇美待化蛾，齧繭出其圜。成偶經晝夜，布子密且綿，紙種敬
以收，默祝富來年。
Seal: (1)
Quyi zai guangqiu『取益在廣求』(rectangle relief)
18. Si xie 祀謝 (offering thanks)
絲成合報謝，東吳復西蜀，人以神虔心，神以人寓目。盈几銀鏤陳，蠶攻佑蒙辱，雖酬已
往恩，仍禱方來福。
Seal: (1)
Chuilu『垂露』(rectangle relief) – (1/2)
19. Lao si 絡絲 (spooling)
繰絲甫報畢，絡絲應及節，工作有次序，此風盛吳越。麤細卒未分，要使無斷脫，轉篗 45
對篝鐙，明河影欲滅。
Seal: (1)
Sanxitang『三希堂』(rectangle intaglio) – (1/2)
20. Jing 經 (preparing the warp threads)
既絡絲納簆，置軸兩端排，引以為直縷，理繁徐往來。條貫期畢就，比弦無曲回，設擬悖
如綍，敢曰經有才。
Seal: (1)
Suianshi『隨安室』(rectangle intaglio)
21. Wei 緯 (preparing the weft threads)
浸緯非細工，付之小女丫，誰知素絲中，乃具種種華。精次於是別，轉輪引緒斜，由分漸
成合，小大殊軸車。
Seal: (1)
Yunxia si『雲霞思』(rectangle relief) – (1/2)
22. Zhi 織 (weaving silk)
闊室置機架，有軸亦有欄，往還拋玉梭，那辭素手寒。錯綜乃成功，萬絲得一端，織女若
是勞，布亦已原單。
Seal: (1)
Luohua mandi jie wenzhang『落華滿地皆文章』(square intaglio) – 2/2
23. Pan hua 攀花 (weaving patterned silk)
椎輪生大輅，踵事何太勤，素帛增攀華，絲縷益糾紜。既成黼黻章，亦煥河洛文，為者自
不知，如山出五雲。
Seal: (1)
Jingzhong guan zaohua『靜中觀造化』(rectangle relief)
24. Jian bo 剪帛 (cutting silk) 精麤不中數，廣狹不中尺，王制弗鬻市，要義寓翦帛。辛苦豈
易成，欲裁心自惜，耕勞蠶亦勞，視此吟篇著。
已丑新正，御題。
[Poems not translated.] New year’s day of the jichou year [February 7, 1769], inscribed by the
Emperor.
Signature: 御
the Emperor
Date: 已丑新正
New year’s day of the jichou year [February 7, 1769]
Seal: (1)
Qianlong『乾』『隆』(linked circle/square relief) – (2/2)
Colophons:
(6) — on three sheets of different paper
1. Zhao Mengyu 趙孟籲 (active 1290s–1330s)
Sheet 1: paper continuously mounted with painting; same kind of paper.
Dimensions: 31.9 x 23.8 cm (12-9/16 x 9-3/8 in)
4 columns, running script 《耕織圖》二卷，乃程氏舊藏，每節小篆，皆隨齋手題。流
傳于世，使享膏梁、衣紈綺者，知農夫、蠶婦之工力也。子俊。
The two scrolls [that comprise the] Illustrations of Tilling and Weaving were in the former
collection of the Cheng family, and each passage of small seal script was inscribed by the hand of
Suizhai [Cheng Qi]. Circulating in the world, the [pictures] bring those who enjoy rich fare and
wear fine silks to understand the hard work of farmers and silk-makers. [Zhao] Zijun.
Signature: 子俊
Zijun
Date: none
Seals: (1)
Zhao shi Zijun『趙氏子俊』(square relief)
2. Fan Qi 范奇 (1261–after 1341)
Sheet 2: paper continuously mounted with preceding; different paper.
Dimensions: 31.9 x 65.2 cm (12 9/16 x 25 11/16 in)
11 columns, running script
疇昔嘗寓玉堂直署，有以《豳風圖》徵予語。固知棄任田正，匊奏粒民，懋遷財用，變化
居積，不獨虞夏之際，『萬邦作乂』，而千萬古民生賴焉。周公作詩以戒王，誦風化所繇
，捧卷伏讀，逮今凜凜生氣，不止『于耜』『舉趾』，『饁彼南畝』，如此圖而已也。遜
齋一日坐予別墅，開闔瑤軸，神爽飛越。芸邊老人范奇八十一歲書。
Once long ago when I was serving temporarily in the Jade Hall [Hanlin Academy], I was invited
to speak about the Illustrations of the Odes of Bin.
46 So I assuredly know that when the Master of
the fields abandoned his office and presented a handful of grain to feed the people, encouraged
them to trade and engage in financial transactions and to exchange their accumulated stores, it was
not only in the era of Yu [Shun] and Xia [Yu] that ―all the nations were ably governed,‖ but for a
million years people’s lives have depended on it.47…One day Xunzhai was sitting in my country
estate and opened the cover of this precious scroll, and my spirit soared in exhilaration. Written by
Yunbian laoren Fan Qi in his eighty-first year.
Signature: 芸邊老人范奇
Yunbian laoren Fan Qi
Date: none (1341?)
Seals: (3)
Lu x-x『盧□□』(square relief)
Jingmen Xunyang Fan shi Shiqi Daosheng fu yin『旌門潯陽范氏士奇道
升父印』(square relief)
Yunxuan『芸軒』(square relief)
Sheet 3: Continuously mounted with preceding colophon; different paper. Bears three
colophons: Colophons 3–5. Dimensions: 31.9 x 208.5 cm (12 9/16 x 82 1/16 in)
3. Qiu Yuan 仇遠 (1247–after 1327)
7 columns, running-standard script.
Poem (8x7).
輕紈文綺出自蠶，丹青寫作圖畫看，採桑養蠶最辛苦，滿望夏織冬禦寒，誰知有絲不待織
，私逋未了先輸官，蠶婦寸絲不着體，豪家墻壁被紈綺。48 山村老民仇遠。
[Poem not translated.] Old Commoner of Mountain Village, Qiu Yuan.
Signature: 山村老民仇遠
Shancun laomin Qiu Yuan
Date: none
Seals: (1)
Shancun Qiu Yuan Renjin『山村仇遠仁近』(square relief)
4. Nie Qixiu 聶奇秀 (1250–after 1325)
12 columns, clerical-standard script.
Poem (8x7).
綠樹枝頭百箔唫，村南村北天陰陰，竹梯踏折東風惡，筠籠擕來老雨淋，去歲無蠶桑似土
，今年有繭葉如金，良工漫費丹青筆，難寫羅敷一片心。時泰定歲次旃蒙赤奮若中和節，
康山七十六歲翁書于益清。
[Poem not translated.] On the festival of zhonghe [second day of the second lunar-month] in the
year of zhanmeng-chifenruo [yichou] of the Taiding reign period [March 16, 1325],49 written at
Yiqing by the Old Man from Kangshan in his seventy-sixth year.
Signature: 康山七十六歲翁
Old Man from Kangshan in his seventy-sixth year
Date: 時泰定歲次旃蒙赤奮若中和節
on the festival of zhonghe [second day of the second lunar-month] in the
year of zhanmeng-chifenruo [yichou] of the Taiding reign period [March 16,
1325]
Seals: (1)
Nie Qixiu『聶奇秀』(square relief)
5. Chen Huan 陳煥 (unidentified – 14th century?)
5 columns, running script.
Poem (4x7).
蠶成帛可衣老者，古意日遠圖謾寫，機間織婦恍有言，好看笑笑有聲畫。
尋陽陳煥。
[Poem not translated.] Chen Huan of Xunyang.
Signature: 陳煥
Chen Huan
Date: none
Seals: (3)
Zhenyi jia Chen Huan yin『真逸家陳煥印』(square relief)
Zhangbo『章伯』(square intaglio)
Xiaogu daoren『肖谷道人』(square relief)
6. Wu Wei 吳煟 (unidentified – 14th century?)
5 columns, running script.
『社而賦事，烝而獻攻』，此古制也。今之躬婦事者，寧不知力此哉！此圖可無作也，然
且作之，當益用勸。使無二月賣新之憂，一蠶十衣之迫，則『大寒索裘』，『吾知免夫！
』山中癡翁吳煟。
―At the spring sacrifice, they declare the actions they will take; at the winter sacrifice, they
present the results they have achieved,‖ such is the ancient regulation.50 So how could anyone today
who performs women’s work not know to put all her might into it! These pictures need not have
been made, so [the reason] they were made must be to provide even greater encouragement. For if
there is no anxiety over having silk to sell in the second month, nor pressure to get ten robes out of
each worm, then from ―looking for furs when it’s already cold,‖ ―I know I’ve escaped!‖51 Crazy
Old Man in the Mountains, Wu Wei.
Signature: 山中癡翁吳煟
Crazy Old Man in the Mountains, Wu Wei
Date: none
Seals: none
Abstract
92 Total
1. Liang Qingbiao 梁清標 (1620–1691) – (20)
Cangyanzi『蒼巖子』(circle relief) – mounting silk 3, lower middle
Jiaolin jianding『蕉林鑒定』(square intaglio) – mounting silk 3, lower middle
Hebei tangcun『河北棠邨』(square relief) – painting 2/poem 3, join, bottom – (1/12)
Hebei tangcun『河北棠邨』(square relief) – painting 3/poem 4, join, bottom – (2/12)
Hebei tangcun『河北棠邨』(square relief) – poem 6/painting 6, join, bottom – (3/12)
Hebei tangcun『河北棠邨』(square relief) – poem 8/painting 8, join, bottom – (4/12)
Hebei tangcun『河北棠邨』(square relief) – painting 9, join, bottom – (5/12)
Hebei tangcun『河北棠邨』(square relief) – painting 11, join, bottom – (6/12)
Hebei tangcun『河北棠邨』(square relief) – painting 12, join, bottom – (7/12)
Hebei tangcun『河北棠邨』(square relief) – painting 14, join, bottom – (8/12)
Hebei tangcun『河北棠邨』(square relief) – poem 17/painting 17, join, bottom – (9/12)
Hebei tangcun『河北棠邨』(square relief) – poem 19/painting 19, join, bottom – (10/12)
Hebei tangcun『河北棠邨』(square relief) – painting 20/poem 21, join, bottom – (11/12)
Hebei tangcun『河北棠邨』(square relief) – painting 23, join, bottom – (12/12)
Liang Qingbiao yin『梁清標印』(square intaglio) – painting 24, lower left Cangyan『蒼嚴
』(square relief) – colophon 1/colophon 2, join, bottom – (1/2)
Yeqi yuyin『冶溪漁隱』(rectangle relief) – colophon 2/colophon 3, join, middle
Cangyan『蒼嚴』(square relief) – colophon 4, paper join, top – (2/2)
Guan qi dalue『觀其大略』(square intaglio) – colophon 6, left
Jiaolin shoucang『蕉林收藏』(rectangle relief) – colophon 6, left
2. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96) – (60)
Congyun『叢雲』(rectangle relief) – mounting silk 1/frontispiece 1 join, upper right –
(1/2) Biduan zaohua『筆端造化』(square intaglio) – mounting silk 1/frontispiece 1 join,
lower right
Chengshu cunzi『成書存子』(square relief) – frontispiece 1/mounting silk 2 join, mid left
Wufuwudaitang guxi tianzi bao『五福五代堂古稀天子寶』(square relief) – mounting silk
2, top
Luohua mandi jie wenzhang『落華滿地皆文章』(rectangle intaglio) – mounting silk
2/frontispiece 2 join, upper right – (1/2)
Shufangrun『漱芳潤』(square intaglio) – mounting silk 2/frontispiece 2 join, lower right
Xiuse ru chuangxu『秀色入窗虛』(square intaglio) – frontispiece 2/mounting silk 3 join,
upper left
Xinqing wen miaoxiang『心清聞妙香』(square relief) – frontispiece 2/mounting silk 3 join,
lower left
Taishang huangdi zhi bao 太上皇帝之寶 (square relief) – mounting silk 3, top center
Yi zai bixian 意在筆先 (oval relief) – mounting silk 3/painting join, middle – (1/2)
Luozhi yunyan 落紙雲煙 (square intaglio) – mounting silk 3/painting join, bottom
Shiqu baoji『石渠寶笈』(rectangle relief) – poem 1, mid right
Yushufang jiancang bao『御書房鑑藏寶』(oval relief) – poem 1, lower right
Qianlong yulan zhi bao『乾隆御覽之寶』(square relief) – poem 1, upper right
Sanxitang jingjian xi『三希堂精鑑璽』(rectangle relief) – poem 1, upper right
Yi zisun『宜子孫』(square intaglio) – poem 1, mid right
Shiqu dingjian『石渠定鑑』(circle relief) – poem 1, top
Baoji chongbian『寶笈重編』(square intaglio) – poem 1, top
Guxi tianzi『古希天子』(circle relief)52 – painting 1, top – (1/24)
Guxi tianzi『古希天子』(circle relief) – painting 2, top – (2/24)
Jishi duo suoxin『即事多所欣』(square intaglio) – painting 2/3, join – (1/2)
Guxi tianzi『古希天子』(circle relief) – painting 3, top – (3/24)
Xiexin『寫心』(oval intaglio) – painting 3/poem 4, join, top
Guxi tianzi『古希天子』(circle relief) – painting 4, top – (4/24)
Guxi tianzi『古希天子』(circle relief) – painting 5, top – (5/24)
Xiesheng『寫生』(rectangle intaglio) – poem 6/painting 6, join, top – (2/2)
Guxi tianzi『古希天子』(circle relief) – painting 6, top – (6/24)
Guxi tianzi『古希天子』(circle relief) – painting 7, top – (7/24)
Miaoyi xie qingkuai『妙意寫清快』(rectangle relief) – poem 8/painting 8, join, top – (1/2)
Guxi tianzi『古希天子』(circle relief) – painting 8, top – (8/24)
Guxi tianzi『古希天子』(circle relief) – painting 9, top – (9/24)
Jian tianxin『見天心』(oval intaglio) – painting 9, join, top – (1/2)
Guxi tianzi『古希天子』(circle relief) – painting 10, top – (10/24)
Yongbi zai xin『用筆在心』(square intaglio) – painting 11, join, top – (1/2)
Guxi tianzi『古希天子』(circle relief) – painting 11, top – (11/24)
Guxi tianzi『古希天子』(circle relief) – painting 12, top – (12/24)
Yanyun shujuan『煙雲舒卷』(square intaglio) – painting 12, join, top
Guxi tianzi『古希天子』(circle relief) – painting 13, top – (13/24)
Guxi tianzi『古希天子』(circle relief) – painting 14, top – (14/24)
Shuiyue liang chengming『水月兩澂明』(rectangle relief) – painting 14, join, top
Guxi tianzi『古希天子』(circle relief) – painting 15, top – (15/24)
Guxi tianzi『古希天子』(circle relief) – painting 16, top – (16/24)
Miaoyi xie qingkuai『妙意寫清快』(rectangle relief) – poem 17/painting17, join, top – (2/2)
Guxi tianzi『古希天子』(circle relief) – painting 17, top – (17/24)
Guxi tianzi『古希天子』(circle relief) – painting 18, top – (18/24)
Jian tianxin『見天心』(oval intaglio) – poem 19/painting 19, join, top – (2/2)
Guxi tianzi『古希天子』(circle relief) – painting 19, top – (19/24) Guxi
tianzi『古希天子』(circle relief) – painting 20, top – (20/24)
Guxi tianzi『古希天子』(circle relief) – painting 21, top – (21/24)
Guxi tianzi『古希天子』(circle relief) – painting 22, top – (22/24)
Yongbi zaixin『用筆在心』(square intaglio) – painting 23, join, top – (2/2)
Guxi tianzi『古希天子』(circle relief) – painting 23, top – (23/24)
Guxi tianzi『古希天子』(circle relief) – painting 24, top – (24/24)
Qianlong jianshang『乾隆鑑賞』(round intaglio) – painting 24/colophon 1, join, top
Yi zai bixian『意在筆先』(oval relief) – painting 24/colophon 1, join, bottom – (2/2)
Jishi duo suoxin『即事多所欣』(square intaglio) – colophon 1/colophon 2, join, top – (2/2)
Yunxia si『雲霞思』(rectangle relief) – colophon 2/colophon 3, join, top – (2/2)
Wan you tongchun『卍有同春』(square relief) – colophon 2/colophon 3, join, bottom
Chuilu『垂露』(rectangle relief) – colophon 4, paper join, bottom – (2/2)
Bazheng maonian zhi bao『八徵耄念之寶』(square relief) – colophon 6, upper left
3. Zeng Xiejun 曾協均 (active 1843–after 1864) – (2)53
Shengchao zhenshang『笙巢真賞』(square intaglio) – colophon 1, lower right
Woxuezhai cang『臥雪齋藏』(square relief) – colophon 1, lower right
4. Yixin, Prince Gong 恭親王弈訢 (1833–1898) – (3)
Huang liuzi heshuo Gong qinwang『皇六子和碩恭親王』(rectangle relief) – painting 1,
lower right
Ledao zhuren『樂道主人』(square intaglio) – painting 24, lower left
Zhengyi shuwu zhencang tushu『正誼書屋珍藏圖書』(rectangle relief) – painting 24, lower
left
4. Jin Cheng 金城 (1878–1926) – (2)
Jin Gongbo jingjian yin『金鞏伯精鑑印』(rectangle relief) painting 1, lower right – (1/2)
Jin Gongbo jingjian yin『金鞏伯精鑑印』(rectangle relief) painting 24, lower left – (2/2)
5. Wanyan Jingxian 完顏景賢 (died 1927?) – (3)
Wanyan Jingxian qingjian『完顏景賢清鑒』(square relief) – painting 1, lower right
Jingxing weixian『景行維賢』(square intaglio) – painting 24, lower left
Xiaoru’an miji『小如庵秘笈』(square relief) – painting 24, lower left
6. Unidentified – (2) – both pre-Qianlong
Fu hou『父後』(coin-shape relief; left half) – painting 1, upper right
Wuche liang zisun yongbao zhi『五車良子孫永保之』(rectangle relief; left half) – painting1,
upper right
1. Liang Qingbiao 梁清標 (1620–1691) – (20)
Cangyanzi『蒼巖子』(circle relief) – mounting silk 3, lower middle
Jiaolin jianding『蕉林鑒定』(square intaglio) – mounting silk 3, lower middle
Hebei tangcun『河北棠邨』(square relief) – painting 2/poem 3, join, bottom – (1/12)
Hebei tangcun『河北棠邨』(square relief) – painting 3/poem 4, join, bottom – (2/12)
Hebei tangcun『河北棠邨』(square relief) – poem 6/painting 6, join, bottom – (3/12)
Hebei tangcun『河北棠邨』(square relief) – poem 8/painting 8, join, bottom – (4/12)
Hebei tangcun『河北棠邨』(square relief) – painting 9, join, bottom – (5/12)
Hebei tangcun『河北棠邨』(square relief) – painting 11, join, bottom – (6/12)
Hebei tangcun『河北棠邨』(square relief) – painting 12, join, bottom – (7/12)
Hebei tangcun『河北棠邨』(square relief) – painting 14, join, bottom – (8/12)
Hebei tangcun『河北棠邨』(square relief) – poem 17/painting 17, join, bottom – (9/12)
Hebei tangcun『河北棠邨』(square relief) – poem 19/painting 19, join, bottom – (10/12)
Hebei tangcun『河北棠邨』(square relief) – painting 20/poem 21, join, bottom – (11/12)
Hebei tangcun『河北棠邨』(square relief) – painting 23, join, bottom – (12/12)
Liang Qingbiao yin『梁清標印』(square intaglio) – painting 24, lower left Cangyan『蒼嚴
』(square relief) – colophon 1/colophon 2, join, bottom – (1/2)
Yeqi yuyin『冶溪漁隱』(rectangle relief) – colophon 2/colophon 3, join, middle
Cangyan『蒼嚴』(square relief) – colophon 4, paper join, top – (2/2)
Guan qi dalue『觀其大略』(square intaglio) – colophon 6, left
Jiaolin shoucang『蕉林收藏』(rectangle relief) – colophon 6, left
2. Hongli 弘曆, the Qianlong 乾隆 emperor (1711–1799; reigned 1735–96) – (60)
Congyun『叢雲』(rectangle relief) – mounting silk 1/frontispiece 1 join, upper right –
(1/2) Biduan zaohua『筆端造化』(square intaglio) – mounting silk 1/frontispiece 1 join,
lower right
Chengshu cunzi『成書存子』(square relief) – frontispiece 1/mounting silk 2 join, mid left
Wufuwudaitang guxi tianzi bao『五福五代堂古稀天子寶』(square relief) – mounting silk
2, top
Luohua mandi jie wenzhang『落華滿地皆文章』(rectangle intaglio) – mounting silk
2/frontispiece 2 join, upper right – (1/2)
Shufangrun『漱芳潤』(square intaglio) – mounting silk 2/frontispiece 2 join, lower right
Xiuse ru chuangxu『秀色入窗虛』(square intaglio) – frontispiece 2/mounting silk 3 join,
upper left
Xinqing wen miaoxiang『心清聞妙香』(square relief) – frontispiece 2/mounting silk 3 join,
lower left
Taishang huangdi zhi bao 太上皇帝之寶 (square relief) – mounting silk 3, top center
Yi zai bixian 意在筆先 (oval relief) – mounting silk 3/painting join, middle – (1/2)
Luozhi yunyan 落紙雲煙 (square intaglio) – mounting silk 3/painting join, bottom
Shiqu baoji『石渠寶笈』(rectangle relief) – poem 1, mid right
Yushufang jiancang bao『御書房鑑藏寶』(oval relief) – poem 1, lower right
Qianlong yulan zhi bao『乾隆御覽之寶』(square relief) – poem 1, upper right
Sanxitang jingjian xi『三希堂精鑑璽』(rectangle relief) – poem 1, upper right
Yi zisun『宜子孫』(square intaglio) – poem 1, mid right
Shiqu dingjian『石渠定鑑』(circle relief) – poem 1, top
Baoji chongbian『寶笈重編』(square intaglio) – poem 1, top
Guxi tianzi『古希天子』(circle relief)52 – painting 1, top – (1/24)
Guxi tianzi『古希天子』(circle relief) – painting 2, top – (2/24)
Jishi duo suoxin『即事多所欣』(square intaglio) – painting 2/3, join – (1/2)
Guxi tianzi『古希天子』(circle relief) – painting 3, top – (3/24)
Xiexin『寫心』(oval intaglio) – painting 3/poem 4, join, top
Guxi tianzi『古希天子』(circle relief) – painting 4, top – (4/24)
Guxi tianzi『古希天子』(circle relief) – painting 5, top – (5/24)
Xiesheng『寫生』(rectangle intaglio) – poem 6/painting 6, join, top – (2/2)
Guxi tianzi『古希天子』(circle relief) – painting 6, top – (6/24)
Guxi tianzi『古希天子』(circle relief) – painting 7, top – (7/24)
Miaoyi xie qingkuai『妙意寫清快』(rectangle relief) – poem 8/painting 8, join, top – (1/2)
Guxi tianzi『古希天子』(circle relief) – painting 8, top – (8/24)
Guxi tianzi『古希天子』(circle relief) – painting 9, top – (9/24)
Jian tianxin『見天心』(oval intaglio) – painting 9, join, top – (1/2)
Guxi tianzi『古希天子』(circle relief) – painting 10, top – (10/24)
Yongbi zai xin『用筆在心』(square intaglio) – painting 11, join, top – (1/2)
Guxi tianzi『古希天子』(circle relief) – painting 11, top – (11/24)
Guxi tianzi『古希天子』(circle relief) – painting 12, top – (12/24)
Yanyun shujuan『煙雲舒卷』(square intaglio) – painting 12, join, top
Guxi tianzi『古希天子』(circle relief) – painting 13, top – (13/24)
Guxi tianzi『古希天子』(circle relief) – painting 14, top – (14/24)
Shuiyue liang chengming『水月兩澂明』(rectangle relief) – painting 14, join, top
Guxi tianzi『古希天子』(circle relief) – painting 15, top – (15/24)
Guxi tianzi『古希天子』(circle relief) – painting 16, top – (16/24)
Miaoyi xie qingkuai『妙意寫清快』(rectangle relief) – poem 17/painting17, join, top – (2/2)
Guxi tianzi『古希天子』(circle relief) – painting 17, top – (17/24)
Guxi tianzi『古希天子』(circle relief) – painting 18, top – (18/24)
Jian tianxin『見天心』(oval intaglio) – poem 19/painting 19, join, top – (2/2)
Guxi tianzi『古希天子』(circle relief) – painting 19, top – (19/24) Guxi
tianzi『古希天子』(circle relief) – painting 20, top – (20/24)
Guxi tianzi『古希天子』(circle relief) – painting 21, top – (21/24)
Guxi tianzi『古希天子』(circle relief) – painting 22, top – (22/24)
Yongbi zaixin『用筆在心』(square intaglio) – painting 23, join, top – (2/2)
Guxi tianzi『古希天子』(circle relief) – painting 23, top – (23/24)
Guxi tianzi『古希天子』(circle relief) – painting 24, top – (24/24)
Qianlong jianshang『乾隆鑑賞』(round intaglio) – painting 24/colophon 1, join, top
Yi zai bixian『意在筆先』(oval relief) – painting 24/colophon 1, join, bottom – (2/2)
Jishi duo suoxin『即事多所欣』(square intaglio) – colophon 1/colophon 2, join, top – (2/2)
Yunxia si『雲霞思』(rectangle relief) – colophon 2/colophon 3, join, top – (2/2)
Wan you tongchun『卍有同春』(square relief) – colophon 2/colophon 3, join, bottom
Chuilu『垂露』(rectangle relief) – colophon 4, paper join, bottom – (2/2)
Bazheng maonian zhi bao『八徵耄念之寶』(square relief) – colophon 6, upper left
3. Zeng Xiejun 曾協均 (active 1843–after 1864) – (2)53
Shengchao zhenshang『笙巢真賞』(square intaglio) – colophon 1, lower right
Woxuezhai cang『臥雪齋藏』(square relief) – colophon 1, lower right
4. Yixin, Prince Gong 恭親王弈訢 (1833–1898) – (3)
Huang liuzi heshuo Gong qinwang『皇六子和碩恭親王』(rectangle relief) – painting 1,
lower right
Ledao zhuren『樂道主人』(square intaglio) – painting 24, lower left
Zhengyi shuwu zhencang tushu『正誼書屋珍藏圖書』(rectangle relief) – painting 24, lower
left
4. Jin Cheng 金城 (1878–1926) – (2)
Jin Gongbo jingjian yin『金鞏伯精鑑印』(rectangle relief) painting 1, lower right – (1/2)
Jin Gongbo jingjian yin『金鞏伯精鑑印』(rectangle relief) painting 24, lower left – (2/2)
5. Wanyan Jingxian 完顏景賢 (died 1927?) – (3)
Wanyan Jingxian qingjian『完顏景賢清鑒』(square relief) – painting 1, lower right
Jingxing weixian『景行維賢』(square intaglio) – painting 24, lower left
Xiaoru’an miji『小如庵秘笈』(square relief) – painting 24, lower left
6. Unidentified – (2) – both pre-Qianlong
Fu hou『父後』(coin-shape relief; left half) – painting 1, upper right
Wuche liang zisun yongbao zhi『五車良子孫永保之』(rectangle relief; left half) – painting1,
upper right
Rights Holder
National Museum of Asian Art (Freer Sackler)
Identifier
F1954.20
References
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的下落 (Concerning the whereabouts of Cheng Qi’s copy of the Rice Culture and Sericulture
paintings), in Wenwu 文物 (1981.9): 92–93.
Suzuki Kei 鈴木敬 (1920–2007), ed. Chūgoku kaiga sōgō zuroku 中國繪畫總合圖錄
(Comprehensive Illustrated Catalogue of Chinese Paintings). 5 vols. Tokyo: University of Tokyo,
1982–83. Vol. 1, 228–29 (A21–092).
Cahill, James F. Three Alternative Histories of Chinese Painting. Lawrence: Spencer Museum of Art,
University of Kansas, 1988, 18–22.
___________. The Painter’s Practice. New York: Columbia University Press, 1994, p. 139, fn 64.
Wang Chaosheng 王潮生, ed. Zhongguo gudai gengzhi tu 中國古代耕織圖 (Farming and weaving
pictures in ancient China). Beijing: Zhongguo nongye bowuguan, 1995. Pp. 46–64 (Freer paintings),
187–92 (Lou Shu’s poems), 209–12 (Qianlong’s poems).
Hammers, Roslyn Lee. ―The Production of Good Government: Images of Agrarian Labor in Southern
Song (1127–1279) and Yuan (1272/79–1368)‖ Ph.D. dissertation, University of Michigan, 2002.
abstract
Attributed to Cheng Qi (傳)程棨
Formerly attributed to Liu Songnian (傳)劉松年
Formerly attributed to Liu Songnian (傳)劉松年