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所创作的一幅设色画，现收藏于北京故宫博物院。\n该图画面上纺车忙碌着，一位面貌年轻村妇怀抱着哺乳的婴儿，坐在纺车前操作，稍远处一位老年村妇站立为之牵线。\n画面右侧绘有一个嬉戏的儿童，两位村妇之间则点缀一只小犬正在撒欢地玩着。\n背景描绘着随风披拂的柳树丝及其几段又粗又硬的树枝干。\n图中人物头发荆钗蓬鬓，鹑衣百结，曲尽情状，面目如生。\n纺车图是绢布手卷，纵21.6 厘米， 横69.2厘米，设色画，内容是农村中妇女纺线的情景。\n该画面的中心放着一架纺车，其傍置一竹筐，位中年妇女坐小椅上，左手抱着婴儿哺乳，右手轮转车机，前面站着一位老年妇女两手牵机。\n村妇身后有一儿童，席地而坐，手中拿着杆，牵着一只蟾蜍，活泼可爱。\n中间闻一小犬，画右有两棵老柳树，布景简洁，但却显出农村前条气象。\n元代书法家赵孟頫为此图题跋：“图虽尺许，而气韵雄壮，命意高古，精采飞动，真可谓神品者矣。\n” 明代画家吴宽亦于其上题诗并跋语：“可爱河东王氏子，丹青施誉动祥符。\n不传罗绮游春态，只画茅檐纺车图。\n” 大中祥符年间（18年—116年），北宋为了修筑宫殿、寺庙，招来一些从事建筑彩绘和壁画的民间画匠。\n由于王居正出身劳动人民，深谙民间疾苦，对下层贫苦农民有深厚的感情，所以画面反映的题材意义和人物形象，与宫廷画家及士大夫笔底的“农家乐”形象大异其趣。\n《纺车图》正是王居正看到妇女纺线情景所创作的一幅农家图。\n该图表现农村妇女的户外劳动。\n全幅主题突出，构图巧妙。\n近景描绘的人物被两条飘浮不定的线条分为两组，线的一端是边摇纺车边哺乳的中年妇女、围其左右戏青蛙的童子和狂吠的黑犬；另一端是弯腰伛背、双手拉着线团的老媪。\n人物彼此间聚散自然，神韵相通。\n图中纺车、竹筐、杌凳用界画形式表现，刻画精工写实。\n人物的衣纹用转折劲利的“战笔描”表现，中锋行笔，线条细劲圆润，随着人物形体的变化而顿折曲转，从而准确地塑造出人物的形态和衣料的柔软质地。\n图中的女性形象与晋代顾恺之、唐代周昉笔下的仕女相比，没有娇美的相貌、诱人的身材、华丽的服饰及尊贵的地位，她们仅是生活中最为普通的农村妇女。\n衣裤迭经补缀的老妇面容憔悴，动作迟缓，艰辛的生活令其相貌充满沧桑感。\n作者以写实的艺术手法不加美化地表现她们，意在赞扬她们安贫乐道的生活态度及朴实无华的个性美，同时也表达了对她们贫苦生活的同情。\n从绘画史的角度来看，《纺车图》并非在技法或风格创新上有重大突破或建树，其难得可贵价值在于它表现了下层劳动人民真实的劳动场面，为人们了解研究当时的社会和历史提供了珍贵的形象资料。\n该图流传有绪，在南宋时为 收藏。\n元代延祐四年（117年）， 在燕京以五十金购得。\n明代初为袁廷玉（柳庄）获取，明代中期杨维新从袁氏家购得。\n万历年间（157－1619年）它被周敏所收藏。\n清代初为仁和龚翔麟（蘅圃）收藏，乾隆朝时归江西陈玉方（希祖），嘉庆朝素村用旧拓唐楷碑向陈玉方换取此画，光绪年间（1875－198年）归陆心源所得，清末归武进盛所有。\n2世纪5年代，国家从香港将其购回，旋即入藏北京故宫博物院。\n在214年4月日至6月29日期间，北京故宫院开展“故宫藏历代书画展”，其中《纺车图》在北京故宫武英殿书画馆开展。\n王居正（生卒年不详），乳名憨哥，河东（今山西永济）人，北宋画家王拙之子。\n北宋大中祥符年间（18－116年），被招募至汴京（今河南开封）参与皇家宫殿的营造工程。\n其作画注重写实，落笔前反复观察，认真思考，力求于创作中真实地再现客观对象 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横四二·三厘米",[],14,{"id":225,"slug":226,"title":227,"dynasty":164,"author":165,"museum":20,"description":228,"tags":229,"thumbUrl":234,"material":235,"size":236,"collection":37,"collections":237,"showCount":223,"zanCount":11,"manualWeight":11,"mainColor":124},232637,"mo-lou-shu-can-zhi-tu-cheng-qi-232637","摹楼璹蚕织图","《耕织图》是中国古代为劝课农桑，采用绘图的形式详实记录耕作与蚕织的系列图谱，原为南宋绍兴年间画家楼璹所作，作品得到了历代帝王的推崇和嘉许。此内整理：传元程棨摹楼璹绘本、清康熙三十五年焦秉贞绘、内府刊本（两种）、清雍正时期陈枚彩绘本、清代彩绘本及和刻本，共九种版本。\n南宋绍兴年间于潜县令楼璹绘制的《耕织图》呈献给宋高宗，深得高宗赞赏并获得吴皇后题词。皇上还专门召见他，并将其《耕织图》宣示后宫，一时朝野传诵，从而引发了“耕织图”发展的第一次高潮。社会上接连不断地出现了许多《耕织图》，形成了中国绘画史、科技史、农业史、艺术史中一个独特的现象，成就了中国文化遗产的一大瑰宝。《耕织图》历经近千年流传到世界各地。\n楼璹的《耕织图》又是一卷诗画相配的文学艺术作品，有人将他的诗与南宋诗人范成大的作品相比较，充满田园气息，也有人评价他的作品的内容更像是以农业为主题的农学著作，有人将它与《天工开物》、《农政全书》相媲美。说是一部有韵的农书。\n《耕织图》描绘细致入微又富有艺术感染力，有赖于楼璹对农业生产的长期观察体验和高超的艺术造诣。他在任县令时，跑遍於潜县治十二乡之周边的南门畈、横山畈、方元畈、祈祥畈、对石畈、竹亭畈、敖干畈等大畈，深入田头地角，出入农家，与当地有经验技术的农夫蚕妇研讨种田、植桑、织帛等经验技术得失。尤其难得的是，它在画面上留下的从事农业生产的图像，为研究农业特别是农具留下了无法从文字资料中得到的珍贵资料。例如《灌溉》《一耘》图，绘出了当时使用戽斗、桔槔和龙骨车抽水灌田的情景。从《收割》图中看到的是一幅紧张的割稻场面。《织》和《攀花》等图绘出了当时已经使用的素织机和花织机，使人们能够更形象地了解当时蚕桑及纺织的发展面貌。其中记载的许多耕织知识和生产工具一直沿用至今。\n该图为康熙年间，江南士人进呈南宋楼璹《耕织图诗》，康熙命内廷供奉焦秉贞重绘而成。康熙亲自题序，并为每幅图“制诗一章，以吟咏其勤苦而书之于图”。时著名木刻家朱圭、梅裕凤奉旨镌版印制。本次编辑将楼诗原文、康熙行草释文用简体文字附于图页，方便读者阅读。《御制耕织图》含23幅耕种图和23幅纺织图，每幅图都配有一首诗。这些诗是由康熙皇帝所作。清宫廷画家焦秉贞创作的这些画很大部分是根据南宋楼璹的《耕织图》来创作的，创作时做了调整。",[50,51,23,24,26,25,54,230,231,7,168,232,233],"耕织","蚕织","农桑","传统技艺","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7cc381aebd2353ed49054ea70b9ec3a5.jpg","水墨设色","32.7X1049",[],{"id":239,"slug":240,"title":241,"dynasty":177,"author":242,"museum":147,"description":243,"tags":244,"thumbUrl":248,"material":37,"size":249,"collection":37,"collections":250,"showCount":251,"zanCount":11,"manualWeight":11,"mainColor":124},223216,"geng-zhi-tu-ce-jiao-bing-zhen-223216","耕织图册","焦秉贞","《御制耕织图》又名《佩文斋耕织图》，不分卷，清圣祖玄烨题诗，焦秉贞绘图，朱圭、梅玉凤镌刻，清康熙三十五年（1696年）内府刊本。耕图、织图各23幅，共计46幅图。每页34.7cm×27.7cm。图框24.4cm×24.4cm。四周单边。册页装。\n《耕织图》以江南农村生产为题材，系统地描绘了粮食生产从浸种到入仓，蚕桑生产从浴蚕到剪帛的具体操作过程，每图配有康熙皇帝御题七言诗一首，以表述其对农夫织女寒苦生活的感念。\n《耕织图》是中国农桑生产最早的成套图像资料，它的绘写渊源可上溯至南宋，绘者为楼璹。楼璹在宋高宗时期任於潜（今浙江省临安市）县令时，深感农夫、蚕妇之辛苦，即作耕、织二图诗来描绘农桑生产的各个环节。《耕织图》成为后人研究宋代农业生产技术最珍贵的形象资料。南宋嘉定三年（1210年），楼璹之孙楼洪、楼深等以石刻之传于后世，南宋理熙元年（1237年）有汪纲木刻复制本。宋以后关于本书的记载已不多见，较著名的有南宋刘松年编绘的《耕织图》，元代程棨的《耕织图》45幅。明代初年编辑的《永乐大典》曾收《耕织图》，已失传。明天顺六年（1462年）有仿刻宋刻之摹本，虽失传，但日本延宝四年（1676年）京都狩野永纳曾据此版翻刻，今均以狩野永纳本《耕织图》作楼璹本《耕织图》之代表。\n清康熙二十八年（1689年）康熙帝南巡时，江南士子进献藏书甚丰，其中有“宋公重加考订，诸梓以传”的《耕织图》。康熙帝即命焦秉贞据原意另绘耕图、织图各23幅，并附有皇帝本人的七言绝句及序文。绘画内容略有变动，耕图增加“初秧”、“祭神”二图，织图删去“下蚕”、“喂蚕”、“一眠”三图，增加“染色”、“成衣”二图，图序亦有变换。宋、清《耕织图》的布景与人物活动大同小异，但焦图画中的风俗易为清代，所绘更为工细纤丽，在技法上还参用了西洋焦点透视法。\n《耕织图》初印于康熙三十五年（1696年），后又出现了很多不同版本，木刻本、绘本、石刻本、墨本、石印本均行于世。如康熙年间的康熙三十八年（1699年）张鹏翮刻本，康熙五十一年（1712年）内府刻本，雍亲王胤禛绢底彩绘本，康熙五十三年（1714年）歙县汪希古恭摹刻48块墨板，宫廷绘白描本等，乾隆年间的康熙、雍正、乾隆三帝题诗刊本，清内府刻《授时通考》本，袖珍彩绘本，乾隆四年（1739年）清内府图为木刻、诗为石刻的经折装本，乾隆三十四年（1769年）北京刻朱墨套印本，杨大章彩绘本，乾隆三十四年（1769年）高宗命画院据元代程棨本临摹之《耕织图》，石刻嵌在皇家清漪园延赏斋左右廊壁的拓本，乾隆三十五年（1770年）徽州守臣摹刻的墨版。此外，还有嘉庆十三年（1808年）《耕织图诗》补刊本，同治十一年（1872年）刊本，光绪五年（1879年）上海点石斋《御制耕织图》石印本，光绪十一年（1885年）上海文瑞楼本，光绪十二年（1886年）上海点石斋石印本。民国时期也有多种版本，较著名的为武进陶兰泉刊本；日本、朝鲜、琉球等国亦有《耕织图》的摹本、翻刻本。\n《耕织图》不但版本众多，版式等也不尽相同，如上文下图本，左图右文本，版框带有龙纹的装饰本，袖珍刻本，木刻填色本，书中序文、诗文前后玺印朱色钤印本，前后玺印为刊版墨印本等。",[23,52,245,25,26,53,54,77,80,246,247,7],"册页","石头","纺织","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F7bac5db85afd5f566ac05862b663b2ad.jpg","34.7cm×27.7cm",[],12,{"id":253,"slug":254,"title":255,"dynasty":93,"author":94,"museum":20,"description":95,"tags":256,"thumbUrl":265,"material":35,"size":36,"collection":104,"collections":266,"showCount":267,"zanCount":11,"manualWeight":11,"mainColor":41},225782,"night-after-millet-october-fan-gao-225782","Night (after Millet) (October - 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