石渠寶笈初編(重華宮),下冊,頁751-755&*故宮書畫錄(卷八),第四冊,頁154&*故宮書畫圖錄,第二十五冊,頁174-181&*陳枚,上海松江人。字載東,號殿掄,晚號枝窩頭院。畫初學宋人,後折衷唐寅,參以西洋法。 清聖祖康熙三十八年(一六九九)由官方出版「佩文齋耕織圖」,康熙帝親自寫序作詩,而圖版則出自院畫家焦秉貞之手,再由朱圭鐫刻完成。本幅詳繪舊日農家耕種稻穀與養蠶織布的程序。據其上高宗乾隆四年(一七三九)跋云,此冊乃為體念聖祖重農桑,勤恤民隱之心,而命臣工再繪前圖,並錄舊作於上,故不論詩文、畫風均與康熙年之作相類。&* Ch’en Mei (style name Tsai-tung; sobriquets Tien-lun and Chih-wo t’ou-t’uo) began his study of painting following the Sung dynasty (960-1279) masters, and later broke from the style of T’ang Yin (1470-1524) to learn contemporary European methods. In 1699, The P’ei-wen-chai Odes and Images of Agriculture and Sericulture was published in the reign of the K’ang-hsi emperor (r.1662-1722). For the edition, the emperor personally composed a preface and poems, the court artist Chiao Ping-chen painted the illustrations, and Chu Kuei had them engraved for printing. The work here describes in detail the activities in traditional China related to farming (such as planting and harvesting) and silk production (such as raising silkworms and weaving cloth). According to a colophon written in 1739 by the Ch’ien-lung emperor (r.1736-1795). This album was done in dedication of the K’ang-hsi emperor’s support of agriculture and sericulture. Court painters were ordered to reproduce the illustrations and have the old inscriptions recorded over them. Thus, this work reproduces the style of writing, poetry, and painting found in the reign of the K’ang-hsi emperor.