故宮書畫錄(卷四),第二冊,頁309-310&*故宮書畫圖錄,第二十一冊,頁445-458&*1.〈清親蠶圖〉,收入劉芳如主編,《書畫裝池之美》(臺北:國立故宮博物院,2008年初版一刷),頁164。 2.韓北新,〈郎世寧繪畫繫年(二)〉,《故宮文物月刊》,第68期(1988年11月),頁133-134。 3.童文娥,〈清院本《親蠶圖》的研究〉,《故宮文物月刊》,第278期(2006年5月),頁71-78。 &* 乾隆七年(西元一七四二年)仿古制建「蠶壇」,制定一套完整的「親蠶禮」儀式,孝賢皇后於九年首先施行,以獎勵農桑,並由郎世寧(一六八八-一七六六)等院畫家合作繪製此〈親蠶圖〉,共計四幅,分別是詣壇、祭壇、採桑、獻繭等不同的情節。此次展出第四卷〈獻繭〉,畫皇后坐殿上,諸王嬪妃跪進蠶繭的情形。卷首楊柳夾岸,綠樹垂蔭,色彩濃艷,具立體透視效果,為典型宮廷紀實畫。(20120103)&* In 1742 an “Altar of Sericulture” was built based on antiquity and a complete set of “Rituals for Sericulture” drawn up. The Xiaoxian Empress two years later presided over the first ritual to encourage mulberry farmers. Giuseppe Castiglione (Lang Shining; 1688-1766) and other court artists cooperated in producing this set of 4 handscrolls on “Visiting the Altar,” “Sacrifices at the Altar,” “Picking Mulberry Leaves,” and “Presenting Cocoons.” On exhibit here is the last one, showing the empress sitting in a hall as princesses kneel to offer silk cocoons. At the beginning are willows on either side of the bank with drooping leaves to offer green shade. The rich colors with a volumetric effect of perspective make it a typical narrative painting of the court.(20120103)