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

释文:

印记资料:

题跋资料:

题跋类别：作者款识；作者：冷枚；题跋位置：本幅；款识：臣冷枚恭画；书体：楷书；全文：臣冷枚恭画。印记：臣冷枚

主题:

主要主题：人物仕女 ；其他主题：树木竹 ；其他主题：器用家俱（屏风）桌、椅、屏风状花架；次要主题：花草杏花 ；其他主题：山水奇石 ；其他主题：器用文玩（琴棋书画）棋；其他主题：器用饮食器食盒、碗、壶；其他主题：建筑房舍 

技法:

工笔 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761 收藏着录： 故宫书画录（卷六），第四册，页287 参考书目： 1.嵇若昕，〈宫廷牙匠与画家的对话 — 〈月曼青游〉之图绘与雕刻〉，《故宫文物月刊》，第268期（2005年7月），页36-50。 内容简介（中文）： 冷枚，山东胶州人，曾与修康熙五十二年（1696）修《万寿盛典》，乾隆朝初年后活动记录渐少，是主要继承焦秉贞仕女画风的清宫画家。此二开选自《画幅集册》，一为月夜仕女提灯游园，另一为仕女研墨书写，皆描绘园林中的仕女活动，其中不论建筑物的表现或是仕女的面容姿态都与焦秉贞相近，月夜一景更与北京所藏陈枚《月曼清游》图册构图雷同，可借此理解清宫仕女画风的延续与变化。 内容简介（中文）： 冷枚（约活动于西元一七０三至一七一七年）字吉臣，山东胶州人。康熙间供奉内廷。曾师法焦秉贞，善人物写眞。此图绘桃红时节，仕女对奕，另两位捧描金漆盒及茶碗。仕女造型清秀，服饰富丽，是典型清院画。高靠背南式官帽椅，背板稍有曲线幅度，扶手联帮棍皆为直线形，座面下两腿间有券口牙子。足间枨子采步步高形式，下有牙头装饰。方桌使用广泛，清代又称八仙桌，桌面下有罗锅枨加双矮老，腿足为方材马蹄足，通体素洁，有明式家具特点。另一长条椅具清代特色。 内容简介（英文）： Leng Mei (style name Chi-ch’en) was a native of Chiao-chou, Shantung, who served as a court artist during the reign of the K’ang-hsi emperor (r.1662-1722). He studied under the court artist Chiao Ping-chen and excelled at painting figures and portraits. This is a painting of the Peach Blossom Festival with palace women. Two other women are holding lacquered boxes painted with gold lines and tea bowls. The elegant and opulently adorned women make this a typical work of the Ch’ing Painting Academy. Here, this so-called “southern-style” armchair has no projecting railings and a high curved backrest. The armrests are bound and follow in straight lines. Between the legs below the seat, there are open spandrels. The stretcher between the feet is slightly lower, acting also as a footrest. And below the stretcher are spandrels for further stability and decoration. The square table seen here was quite common, known as an “Eight Immortals’ Table” in the Ch’ing dynasty. Below the tabletop are curving humpbacked stretchers with short, double vertical braces, and the feet are in the shape of square horse hoofs. This piece reflects the simple and refined features of Ming style furniture, while the long, narrow chair is distinctive of Ch’ing furniture. 内容简介（英文）： Leng Mei, a native of Chiao-chou in Shantung, was one of the artists involved in Grand Ceremony for the Imperial Birthday compiled in 1696 for the K’ang-hsi Emperor (r. 1662-1722), but records of his activity later in the early Ch’ien-lung reign (1736-1795) apparently decreased. Leng Mei was a court artist who mainly followed Chiao Ping-chen’s (fl. ca. 1689-1726) style of painting ladies. These two leaves have been selected from “Collected Album of Paintings.” One depicts ladies strolling in a garden holding lanterns in the light of the moon, while the other shows ladies preparing ink and doing calligraphy. Both rendering activities of ladies in garden settings, the depictions of architecture as well as the facial features and poses of the ladies are similar to those of Chiao Ping-chen. In fact, the composition of the moonlit scene is nearly identical to that in an album leaf by Ch’en Mei (ca. 1694-1745) entitled “Pure Stroll under a Graceful Moon.” This relationship indicates the continuation and transformation of the painting style of Ch’ing court ladies.