Jiao Bingzhen (active 1689-1726) Yuzhi Gengzhi Tu, Imperially Commissioned Illustrations of Tilling and Weaving, Beijing: 1696, comprising 44 woodblock illustrations, each page with three red seals, 淵鑒齋 Yuan Jian Zhai, 保合太和 Bao He Tai He, and 康熙宸翰 Kang Xi Chen Han, mounted in an accordion-style album, with silk brocade covered boards, 29x36cm. 焦秉貞 《御製耕織圖》木板印刷冊頁 Note: The Gengzhi Tu (Agriculture and Sericulture Illustrations) constitutes the earliest comprehensive visual record of agricultural and sericultural production in China. It reflects the traditional model of agrarian life in which farming and sericulture were pursued in tandem, with men engaged in ploughing and women in weaving. As such, it served as an important didactic instrument for imperial governance, used to encourage agricultural diligence, disseminate practical knowledge, promote technical improvements, and thereby stimulate rural productivity. The systematic pictorial rendering of the Gengzhi Tu can be traced back to the Southern Song dynasty and is attributed to Lou Shu. While serving as magistrate of Qianqian (present-day Lin’an, Zhejiang) during the reign of Emperor Gaozong, Lou was deeply moved by the hardships endured by farmers and silkwomen. In response, he composed a series of poems accompanied by illustrations of tilling and weaving, depicting each stage of agricultural and sericultural labour. These images later became some of the most valuable visual sources for the study of agricultural technology in the Song dynasty. In the twenty-eighth year of the Kangxi reign (1689), during the emperor’s southern inspection tour, a substantial number of books were presented to the court by local scholars, among them a version of the Gengzhi Tu described as “revised and verified by scholar Song and widely printed for transmission.” In the thirty-fifth year of Kangxi(1696), the emperor commissioned the court painter Jiao Bingzhen to produce a new painted version based on Lou Shu’s earlier artworks. This revised set comprised twenty-three scenes of farming and twenty-three of weaving (forty-four in total in the present lot), each accompanied by an imperial poem. The Shiqu Baoji records: “A painted album of Gengzhi Tu by Jiao Bingzhen, one superior-grade volume stored in the Yangxin Hall. Executed in colour on plain silk. In all forty-six leaves: leaves one to twenty-three depict tilling; leaves twenty-four to forty-six depict weaving… Above each image are inscriptions in the imperial hand of the Sage Ancestor, the Emperor Ren (Kangxi)… Each leaf bears the seal of Yuanjian Zhai, seal of ‘Kangxi Chenhan’ and ‘Baohe Taihe’ … Inscribed and written in the thirty-fifth year of Kangxi.” The pictorial programme underwent certain modifications. Two new scenes, “Transplanting Rice Seedlings” and “Paying Worship to the Gods”, were added to the tilling series. In the weaving series, three scenes “Lowering the Silkworms,” “Feeding the Silkworms,” and “First Metamorphosis of the Silkworm” were delated, while “Dyeing Silk” and “Making Garments” were introduced. The sequence of images was also rearranged. The emperor subsequently ordered the distinguished woodblock carvers Zhu Gui and Mei Yufeng to engrave and print the designs for distribution among officials. From the Kangxi period onward, representations derived from this imperial version of the Gengzhi Tu became standard decorative motifs on Qing porcelain. A well-known example in the collection of the Palace Museum, Beijing, is a famille-verte bowl depicting scenes of “Husking Rice with a Pestle and Mortar” and “Separating Silkworms onto Bamboo Trays.” Although the Song and Qing versions of the Gengzhi Tu share broadly similar compositions and figural activities, Jiao Bingzhen’s renderings reflect the social customs of the Qing period and are executed with greater refinement and delicacy. Technically, they also incorporate elements of Western linear perspective. An article entitled “Western Influence on Chinese Art at the Turn of the Ming and Qing Dynasties,” compares the two versions: “The most notable difference lies in Jiao’s adoption of Western perspective.” It further observes: “Lou’s illustrations are simple and unadorned, whereas Jiao’s are intricate and elegant.” The Gengzhi Tu was first printed in the thirty-fifth year of Kangxi (1696). Numerous editions subsequently appeared, including woodblock-printed, painted, stone-carved, ink, and lithographic versions, each with varying formats. These included editions with image above and text below, with image on the left and text on the right, versions with dragon-decorated borders, miniature pocket editions, hand-coloured woodblock prints, and copies bearing vermilion seals preceding the prefaces and poems (the present lot belongs to this category), as well as others with seals printed in black ink. 《耕織圖》是中國農桑生產最早的成套圖像資料，反映了中國古代農桑并舉、男耕女織的生產形式。它是統治者勸課農桑的重要方式，旨在普及農業生產知識、推廣農業技術和促進農業生產。它的系統性繪寫淵源可上溯至南宋，繪者為樓璹。樓璹在宋高宗時期任於潛（今浙江省臨安市）縣令時，深感農夫、蠶婦之辛苦，即作耕、織二圖詩來描繪農桑生產的各個環節。《耕織圖》成為後人研究宋代農業生產技術最珍貴的形象資料。 清康熙二十八年（1689年）康熙帝南巡時，江南士子進獻藏書甚豐，其中有“宋公重加考訂，諸梓以傳”的《耕織圖》。康熙三十五年（1696），帝傳命內廷供奉焦秉貞在樓繪基礎上，重新繪制，計有耕圖和織圖各23幅（本拍品共計44幅），并每幅制詩一章。石渠寶笈記：「焦秉貞畫《耕織圖》一冊，上等宇一，貯養心殿。素絹本，著色畫。凡四十六幅，第一幅至第二十三幅，耕圖；第二十四至第四十六幅，織圖……每幅上方聖祖仁皇帝御書題句……每幅前有淵鑒齋一璽，后有康熙宸翰、保合太和二璽……康熙三十五年（1696）春二月社日題並書。」 繪畫內容略有變動，耕圖增加“初秧”、“祭神”二圖，織圖刪去“下蠶”、“餵蠶”、“一眠”三圖，增加“染色”、“成衣”二圖，圖序亦有變換。后又命著名木刻家朱圭、梅裕鳳鐫版印制，頒賜臣工。从康熙始，清代瓷器上的耕织图题材皆从此出，如北京故宮博物院藏品中有五彩耕織圖碗，畫面取“舂碓”和“分箔”兩組題材。 宋、清《耕織圖》的布景與人物活動大同小異，但焦圖畫中的風俗易為清代，所繪更為工細纖麗，在技法上還參用了西洋焦點透視法。1933年商務印書館出版之《東方文庫續編》中的《東方藝朮與西方藝朮》所收之《明清之際中國美朮所受西洋之影響》一文，將焦圖與樓圖作比較：“最為不同者，則焦圖應用西洋之透視法以作畫是也。”還說：“樓圖簡單朴素，而焦圖則纖細麗都。” 《耕織圖》初印於康熙三十五年（1696年），後又出現了很多不同版本，木刻本、繪本、石刻本、墨本、石印本均行於世，版式等也不盡相同，如上文下圖本，左圖右文本，版框帶有龍紋的裝飾本，袖珍刻本，木刻填色本，書中序文、詩文前後璽印朱色鈐印本（本拍品即為此版），前後璽印為刊版墨印本等。
A Chinese handscroll attributed to Jiao Bingzhen (Chinese, 1689-1726) The painting features a gathering of twenty scholars with an inscription and three seals; on silk. It is accompanied by a four-character archaic-style calligraphy with two inscriptions and two seals, as well as two commentaries, one with one seal and the other with two seals. H: 11, W: 90 1/2 in. (H: 27.90, W: 229.90 cm. (sight, approximately)) Copy the following link for high resolution images: oag.smugmug.com/190-March-Painting
Attributed to Jiao Bingzhen (1689-1726), Figural Narrative Scene. Ink and color on silk, hanging scroll. 78 x 41 cm. Condition: Creases and stains on the mounting and painting.
A Chinese handscroll attributed to Jiao Bingzhen (Chinese, 1689-1726) The painting features a gathering of twenty scholars with an inscription and three seals; on silk. It is accompanied by a four-character archaic-style calligraphy with two inscriptions and two seals, as well as two commentaries, one with one seal and the other with two seals. H: 11, W: 90 1/2 in. (H: 27.90, W: 229.90 cm. (sight, approximately)) Copy the following link for high resolution images: oag.smugmug.com/161-Chinese-Painting-and-Calligraphy
FOLLOWER OF JIAO BINGZHEN (1689-1726); FOLLOWER OF WANG SHIDAN (1645-1718) Imperially Commissioned Illustrations of Agriculture and Sericulture Ink and colour on silk, the reverse ink on paper, framed and glazed. 27.5cm (10 7/8in) high x 28cm (11in) wide
SIGNED JIAO BINGZHEN (active 1689 - 1726) China, 18th c. 176,8 x 100,8 cm, R. Palace garden with hundred playing boys. Ink and colours on silk, framed. Signed: "respectfully painted by Qintianjian Wuguan Jiao Bingzhen" and a seal unread. From an old Swiss private collection, acquired on 29.5.1990, lot 259 at Lempertz in Cologne, publ. on plate 31 - Wear, minor damages due to age, minor rest. Jiao Bingzhen was a native of Jining of Shandong Province who became a noted painter and astronomer. He is one of the first Qing dynasty painters to blend traditional Chinese painting with western culture. He is also among the more significant portrait and miniature painters in the early Qing. He was skilled in painting people, landscapes, and buildings
A CHINESE PAINTING OF FIGURE STORY,SIGNED JIAO BINGZHEN Image only size 61 cm by 39 cm. Painting depicting Lady with kids, hand scroll, ink and color on paper, singed Jiao Binzhen, with one seal of artist.
Artist(s): Jiao Bingzhen 焦秉貞 (active 1689 - 1726) Qing Dynasty Title: Royal Farming & Weaving 线耕图 Ink and color on silk, Paintings Album Book Length: 50 cm, Width: 27.3 cm Dated: In the Fifth Month of Emperor Kangxi Twenty-fifth year Reign Period (1686) Qing Dynasty Signed/Seal(s): Multiple seals, endorsed Comment: Royal Farming and Weaving , also known as "Peiwenzhai Farming and Weaving", painted by Jiao Bingzhen, in the Fifth Month of Emperor Kangxi Twenty-five year Reign Period (Qing Dynasty ). There are six drawings of farming and weaving. Album pack.
Artist(s): Jiao Bingzhen 焦秉貞 (active 1689 - 1726) Qing Dynasty Title: Royal Farming & Weaving 线耕图 Ink and color on silk, Paintings Album Book Length: 50 cm, Width: 27.3 cm Dated: In the Fifth Month of Emperor Kangxi Twenty-fifth year Reign Period (1686) Qing Dynasty Signed/Seal(s): Multiple seals, endorsed Comment: Royal Farming and Weaving , also known as "Peiwenzhai Farming and Weaving", painted by Jiao Bingzhen, in the Fifth Month of Emperor Kangxi Twenty-five year Reign Period (Qing Dynasty ). There are six drawings of farming and weaving. Album pack.
Attributed to Jiao Bingzhen (1689–1726) 19th century Ink and colour on silk, mounted Signed Jiao Bingzhen, with two seals of the artist 94.0 x 31.5cm For further information on this lot please visit the Bonhams website
A Chinese watercolor and ink painting on paper of Shou with three ladies and bats attributed to Jiao Bingzhen. It has an inscription, one seal, and is mounted on a silk backing. Dimensions are: 40 3/4 inches tall X 25 1/4 inches wide, 103.5 cm X 64.1 cm. All measurements are approximate. High resolution images can be found here
Property from the collection of Friedrich and Ruth Boss, assembled in China between 1911 and 1938 - Jiao Bingzhen was from Jining in Shandong province. He was a court painter during the Kangxi period (1662-1722) specializing in figures and architectural painting. His genre paintings were especially new. The children and landscape elements in this scroll are painted very fine in the style of the eighteenth century - Wear, minor damages and losses, mounting partly damaged and repaired
Attributed to Jiao Bingzhen (16891726) 19th century Ink and colour on silk, mounted Signed Jiao Bingzhen, with two seals of the artist 94.0 x 31.5cm For further information on this lot please visit the Bonhams website
A Chinese watercolor and ink painting on paper attributed to Jiao Bingzhen. The painting, which has 2 seals and an inscription, depicts a parade scene of Mongols. It is mounted on a silk backing. Dimensions are: 55 inches tall X 125 inches wide, 139.7 cm tall X 317.5 cm wide. All measurements are approximate.
Two artist signatures, "焦秉貞恭繪"one on a "Farming" composition and one on a "Weaving" composition, each with the artist Jiao Bingzhen's seal 「秉貞」 directly below. Eight total collector's seals belonging to Gong Qin Wang Yixin (1833-1898), sixth son of Emperor Daoguang (1782-1850). Two sets of two on the Weaving series and two sets of two on the Farming series: 「皇六子和碩恭親王」 "Huang liuzi he shuo gong qinwang," with 「詒晋齋印」 "Yi jin zhai yin" and 「樂道主人」 "Le dao Zhuren" with 「正誼書屋珍藏啚書」"Zheng yi shuwu zhencang tushu." Album of 46 images and one page of calligraphy; 23 have been framed. Note: Jiao Bingzhen (Chinese, act. 1689-1728) a celebrated Imperial painter is known for his paintings and albums of figures and landscapes particularly his illustrations of the text "Gengzhitu" (Rice and Weaving) a book from the 12th century on agriculture and sericulture. His works can be found in The British Museum; Museum of Fine Arts, Boston; The Metropolitan Museum of Art and The Nelson-Atkins Museum of Art. Prince Gong Qin Wang Yixin (1833-1898), the sixth son of the Emperor Daoguang (1782-1850) and Empress Xiaojing (1812-1855), was a collector and influential political figure in both foreign and domestic policies. Works from his collection can be found in museums around the world including The Metropolitan Museum of Art. Yixin helped negotiate an end to the Second Opium War and was involved in suppressing the Taiping Rebellion, a revolt against Qing Dynasty rule in China.
FORMERLY ATTRIBUTED TO JIAO BINGZHEN (FL. 1689-1726) Sericulture Signature of the artist Twenty four seals Album of 24 leaves Painting, ink and colour on silk Calligraphy, ink on paper Each leaf 12 in. x 10 ½ in. (30.4 cm. x 26.6 cm.)
Set of six Chinese Qing watercolor framed paintings,depicting peoples hunting,fishing, and farming. signed Jiao Bing Zhen. Circa 18-19th C. Site 12" W x 50" H x 6
Set of six Chinese Qing watercolor framed painting, depicting peoples hunting,fishing, and farming. Signed Jiao Bing Zhen. Circa 18-19th C. Site 12"W x 50"H x 6.
A fan painting in gold ink on a black ground attributed to Jiao Binzheng and dating from the Qing dynasty. It has wooden slates with a metal connecting hook. Dimensions are: 11 inches tall X 17 inches wide. All measurements are approximate.
Attributed To Jiao Bing Zhen (Qing Kangxi) Two Painting Ink And Color On Silk, Mounted. Signed And Seals. 68 x 37 cm (26 3/4 x 14 1/2 in) x 2 傳 焦秉貞（康熙）（三國志人物圖2 幅） 共約4.5平尺 孔明斬馬謖，曹操斬呂布 畫心：設色紙本 款識：焦秉貞製 鈐印：焦秉貞印
signed Jiao Bingzhen, with one seal of the artist, bing zhen, and nine collector's seals of Zhou Zongqi (B.1939), chang feng, shi jiu sheng ya, zhou, chang feng lou, zong qi cang, xue yuan tang, qiu ze de zhi, shou yue shen mei, xue yuan tang
Attribute to JIAO BINGZHEN (17th Century) 4 Large Beauties in Palace ‘hanging scroll Ink And Color On Silk, 4 Hanging Scroll. Signed And Seals. 227 x 65 cm. x (4) 焦秉貞（17 世纪）美人官樂圖4條屏 軸心：設色絹本 款識：乾隆庚寅春二月八日奉敕臣焦秉貞恭繪 鈐印：臣焦秉貞，恭繪 Provenance 來源：廣東新會陳玉泉先生（1870-1963）藏品
18th century, Qing dynasty. Ink and color on silk, mounted in a frame. Jiao Bingzhen was a court painter during the Kangxi and Yongzhen reigns of the Qing dynasty. It depicts an immortal riding on a qilin, being served by an attendant, and meeting a person holding a small qilin. On the left is the inscription by Jiao Bingzhen and his seal stating this painting was created for the emperor. With toning, cracks to silk, abrasion. Approx. 18 3/4 by 37 in., 47.8 by 94 cm.
Chinese Framed Painting, ink and color on paper, painting of a courtyard scenery of four on-duty warriors guarding an imperial backyard and a young man with a mythical animal. Signed Jiao Bingzhen with red seals mark. Height 34.5" Width 33"
Goldfish Hanging scroll, ink and color on silk, bearing an inscription reading Jiao Bingzhen jin hui with two seals reading chen and Bingzhen. 23 1/2 x 12 1/4in (59.7 x 31.2cm)
One portrait depicts an animal handler, dressed in tiger fur, leading a leashed tiger to a wealthy person for inspection. The other portrait depicts an attendant taking out a ripe watermelon from the back of a kneeling camel, while another person watches. Artist mark and signature "Jiao Bingzhen" on both paintings. Slight damage to paintings due to age. Ming Dynasty period.
Jiao BingZhen (Kang Xi Period) Ink and color on silk, hanging scroll, signed and seals. 107 x 57 cm. (42 x 22 1/2 in.) 焦秉貞（康熙年代） 雙栖圖 約5.5平方尺 軸心：設色絹本 款識：臣焦秉貞恭繪 鈐印：恭繪
Jiao BingZhen (17th-18th Century) Ink and color on paper. Hanging scroll, signed and seal. 72 x 34.5 cm. (28 1/4 x 13 1/2 in.) 焦秉貞（17至18 世紀宮廷畫家） 麻姑獻壽圖 約2.2平方尺 軸心：設色絹本款識：焦秉貞 鈐印：焦秉貞
Jiao BingZhen (17th-18th Century) Ink and color on paper. Hanging scroll, signed and seal. 72 x 34.5 cm. (28 1/4 x 13 1/2 in.) 焦秉貞（17th 至18th 世紀宮廷畫家） 麻姑獻壽圖 約2.2平方尺 軸心：設色絹本 款識：焦秉貞 鈐印：焦秉貞
One portrait depicts an animal handler, dressed in tiger fur, leading a leashed tiger to a wealthy person for inspection. The other portrait depicts an attendant taking out a ripe watermelon from the back of a kneeling camel, while another person watches. Artist mark and signature "Jiao Bingzhen" on both paintings. Slight damage to paintings due to age. Ming Dynasty period.
JIAO BINGZHEN (1606-CIRCA 1687) Kangxi's Expedition to Southern China Handscroll, ink and colour on silk 58 x 545 cm. (22 7/8 x 214 1/2 in.) Two collectors' seals including one of Yin Zhen (Emperor Yongzheng, 1678-1735) Colophon by Naito Konan (1866-1943), dated dingsi year (1917), signed with two seals Titleslip by Luo Zhenyu (1866-1940), dated bingchen year (1916), signed with two seals Titleslip on the box by Feng Kanghou (1901-1983), signed
