书体:

色彩:

设色

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅绢本幅上方纸

释文:

印记资料:

题跋资料:

题跋类别：题跋；作者：清高宗本幅上方 ；书体：行书；全文：织女工夫午夜多。何曾己自着丝罗。银兰照处方成寸。却早循环掷万梭。织。印记：德惟一

主题:

主要主题：民俗技艺 耕织；次要主题：器用耕织渔猎织（织、织布机）；次要主题：人物百姓妇女；次要主题：建筑房舍 ；其他主题：树木  ；其他主题：树木竹 ；其他主题：花草 草；其他主题：建筑篱笆、围墙 ；其他主题：建筑井 ；其他主题：器用饮食器壶、杯、盘；其他主题：器用烛台．蜡烛 

技法:

工笔 界画 皴法 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页751-755 收藏着录： 故宫书画录（卷八），第四册，页154 收藏着录： 故宫书画图录，第二十五册，页174-181 内容简介（中文）： 陈枚（约1694-1745）上海松江人，雍正初年进入宫廷，乾隆初年离开宫廷，为〈清院本清明上河图〉的画家之一。陈枚的仕女画风延续焦秉贞、冷枚等人，沿用西洋透视构图描绘建筑。清宫绘制〈耕织图册〉多套，以焦秉贞于康熙年间最早，后冷枚、陈枚皆有踵继。此处选陈枚作品为代表为祭神、浴蚕以及纬、织。清宫本皆强调其中建筑的远近缩放比例，并略微缩小人物尺寸以突出空间深度效果。 内容简介（英文）： Ch’en Mei, a native of Sungkiang near Shanghai, entered court service in the early Yung-cheng reign (1723-1735) and left the court in the early Ch’ien-lung reign (1736-1795). He was one of the court painters who took part in the project of painting “Up the River on the Ch’ing-ming Festival.” Ch’en’s style of painting ladies followed that of Chiao Ping-chen (fl. ca. 1689-1726) and Leng Mei (fl. ca. 1677-1742), also making use of Western perspective and compositional methods to depict buildings. The Ch’ing court commissioned several sets of “Illustrations of Agriculture and Sericulture.” The earliest was by Chiao Ping-chen in the K’ang-hsi reign (1662-1722), followed by Leng Mei and then Ch’en Mei. Here, the representative sections of Ch’en Mei’s work that have been selected are those on “Sacrifice to the Gods” and “Bathing the Silkworms” as well as on woof and weaving. All of the Ch’ing editions emphasize the relative proportion of distances and sizes to the buildings, slightly reducing figures in order to suggest the depth of space.