Yinzhen Farming Brochure Collection Page

[Yinzhen Texturing Atlas · Cutting Page]

Yinzhen Texturing Atlas · Cutting Page, Qing Dynasty, silk edition, color setting, 39.4 cm in length and 32.7 cm in width
This is one of the farming atlases. This picture depicts Yin Zhen (Prince Yong), dressed as a farmer in the wheat field, leading the people to harvest. This picture is exquisite in pen, elegant in color, vivid and vivid in character image, and vividly depicts the scene of laborers working hard
The ploughing and weaving map originated from the Southern Song Dynasty. It is a series of maps that recorded farming and silkworm weaving in detail in ancient China for the purpose of persuading farmers to teach mulberry. Because of its vivid and detailed depiction of the scene and detailed production process of labourers’ farming and silkworm weaving, it has played a great role in popularizing agricultural production knowledge, popularizing farming technology and promoting the development of social productivity, and has become an extremely valuable art treasure
The volume of “Tillage and Weaving Drawings” in the Song Dynasty consists of 21 Tillage and 24 Weaving Drawings. In the 28th year of the reign of Emperor Kangxi in the Qing Dynasty (1689), Emperor Kangxi observed this picture during his tour to the south. He was filled with emotion, and ordered the inner court to worship Jiao Bingzhen to redraw the “Farming and Weaving Map” volume according to his original intention, making 23 plowing and weaving maps
Before Emperor Yongzheng ascended the throne, the volume of “Geng Wo Tu” is based on the “Geng Wo Tu” printed in the reign of Emperor Kangxi. Its content and specifications are modeled on the Jiao’s version and carefully drawn by Qing court painters. What is different is that the main figures in Yinzhen’s ploughing and weaving pictures, such as farmers and silkworm wives, are all portraits of Yinzhen and Fujin, which are only seen in the ploughing and weaving pictures of previous dynasties. There are 52 existing pages of this drawing, of which 6 are derivative pages without final draft, and the remaining 46 are cultivation drawings and weaving drawings with 23 pages each. Each painting has Yin Zhen’s autograph poem and two seals of “Prince of Yong’s Treasure” and “Buddhist monk who broke the dust”. According to the characteristics of painting, this album may be the work of Chen Mei, a court painter at that time.