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拍品專文
Compare with another complete woodblock set of the same theme sold in these Rooms, 29 April 2002, lot 720.
Depictions of weaving and tilling appeared as early as the Southern Song dynasty as part of the didactics of teaching princes and officials the necessity of sericulture and farming. In the 28th year of Kangxi reign, the emperor ordered the court painter Jiao Bingzhen to produce an album from which, in the thirty-fifth year, sets of woodblock prints were produced comprising twenty-three illustrations of farming and the same quantity again of weaving.
Two pages of woodblock prints from the same 1696 edition are illustrated by J. Rawson, Chinese Jade: From the Neolithic to the Qing, British Museum, London, 1995, pp. 407 and 409, figs. 1 and 2; where the author suggested that these prints, or a very similar version of this subject, must have been made available to lapidary craftsmen for the carving of jade, ibid, p. 407. Imageries from these prints illustrating tranquil agricultural life were used as design templates on other works of art, cf. a mother-of-pearl screen dated to the first quarter of 18th century decorated with similar scenes, sold in our London Rooms, 10 June 1996, lot 212; and the scenes gilded on the powder-blue-ground vase, offered as the preceding lot.
An album painted on silk, attributed to the court painter Chen Mei, in the Palace Museum, Beijing, depicting the exact same themes but with the additional figure of Prince Yinchen before he later ascended the throne as Emperor Yongzheng, is illustrated in Splendors of a Flourishing Age, Macau, 2000, no. 16. The painted album bears the prince's seals, Yongqin Wangbao, and Pochen Jushi, and the pages portray the prince as the dutiful son tending to farming and weaving activities.
Depictions of weaving and tilling appeared as early as the Southern Song dynasty as part of the didactics of teaching princes and officials the necessity of sericulture and farming. In the 28th year of Kangxi reign, the emperor ordered the court painter Jiao Bingzhen to produce an album from which, in the thirty-fifth year, sets of woodblock prints were produced comprising twenty-three illustrations of farming and the same quantity again of weaving.
Two pages of woodblock prints from the same 1696 edition are illustrated by J. Rawson, Chinese Jade: From the Neolithic to the Qing, British Museum, London, 1995, pp. 407 and 409, figs. 1 and 2; where the author suggested that these prints, or a very similar version of this subject, must have been made available to lapidary craftsmen for the carving of jade, ibid, p. 407. Imageries from these prints illustrating tranquil agricultural life were used as design templates on other works of art, cf. a mother-of-pearl screen dated to the first quarter of 18th century decorated with similar scenes, sold in our London Rooms, 10 June 1996, lot 212; and the scenes gilded on the powder-blue-ground vase, offered as the preceding lot.
An album painted on silk, attributed to the court painter Chen Mei, in the Palace Museum, Beijing, depicting the exact same themes but with the additional figure of Prince Yinchen before he later ascended the throne as Emperor Yongzheng, is illustrated in Splendors of a Flourishing Age, Macau, 2000, no. 16. The painted album bears the prince's seals, Yongqin Wangbao, and Pochen Jushi, and the pages portray the prince as the dutiful son tending to farming and weaving activities.