| 【類別】 | 【參考資料】 |
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收藏著錄
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石渠寶笈初編（重華宮），下冊，頁355
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收藏著錄
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故宮書畫錄（卷八），第四冊，頁144
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收藏著錄
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故宮書畫圖錄，第二十五冊，頁42-45
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參考書目
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1.林莉娜，〈清焦秉貞山水樓閣(第二開)〉，收入林莉娜主編，《宮室樓閣之美 - 界畫特展》（臺北：國立故宮博物院，2000年初版），頁58-59、110-111。
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內容簡介（中文）
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此為一套沒有紀年的水墨圖作，僅有「臣焦秉貞恭畫」款。全套十開皆描繪園林樓閣，針對建築物的描繪十分講究，特別運用比例大小的縮放來加強建築物的深度效果。畫中只有山水樓閣。全無人物活動，其中部份樓閣的布景與〈十二月令圖〉的部份場景十分接近，本套冊頁或許正是一些清宮樓閣山水作品的圖稿。焦秉貞的生卒年不詳，活動記錄最晚約到雍正朝，然在乾隆朝初期仍有被當作畫樣使用的記錄。
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內容簡介（中文）
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焦秉貞（約活動於一六八九至一七二六年）字爾正，山東濟寧人。康熙時任職欽天監五官正，與歐洲傳教士南懷仁共事，是康熙畫院中最早受到西洋畫法影響的畫家之一，亦是乾隆畫院有是新進西洋傳教士畫家所學習的對象。此冊頁採單點透視法融入清式民居建築中，數進屋宇院落自大至小，曲盡其致。園中門洞目的是構成景框，使園景產生特殊外貌。第二開繪秋景，梧桐、桂樹、蘆葦點綴圖中，後方繪有卷棚帶抱廈屋頂，（前後相接處不用屋脊，而做成弧線曲面。）進深三間前出廊；前方合瓦懸山屋面，檐下有支摘窗，（多用於園林建築或住宅，大式小式建築均可。外層上段可支起以利通風，下段可摘掉以利採光，窗心都是櫺條。）下為磚砌檻牆，蓋在厚木板鋪成的橋面上。右邊另一棟建築物四周有檐廊，北方稱為格扇門，格心紋樣為「一馬三箭式」，（直櫺窗的一種，在縱列直櫺上下部位，各橫置三根橫條。）為明清宮殿的次要房屋常用，下方條環板與裙板都用彩畫大理石紋裝飾。灰瓦白牆沒有奇巧華麗的房子，而小木作裝修卻儘量求變化，走細膩精緻的路線。此畫乃利用透視滅點法畫成，根據圖中透視線斜度的變化可推求出其滅點的準確位置。屋瓦、屋檐、廊柱、窗洞、橋樑、地面磚，皆運用淡墨渲染法，來區分建築物的明暗面，以加強其立體感。(林莉娜)
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內容簡介（英文）
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Chiao Ping-chen, a native of Shantung, served in the Directorate of Astronomy and learned Western techniques of painting. Shown here is Ch’ing-style architecture, which has no main ridge due to the curved features. Some roofs have overhanging gables, while below are eaves with propped window covers (which let in air and light and are often used in garden or residential architecture). The buildings rest on slab-lined walls. The building to the right has I-ma san-chien lattice windows (vertical slats with 3 horizontal members), often used in subsidiary palace structures during the Ming and Ch’ing. Here, Chiao Ping-chen used Western-style perspective and washes of ink to indicate shading, providing for a realistic effect.
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內容簡介（英文）
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This set of monochrome ink paintings is undated and bears only the signature, “Painted by Your Servant, Chiao Ping-chen.” The album is composed of ten leaves all depicting buildings in garden settings. The attention paid to rendering the buildings is exceptionally detailed, especially in the use of relative size to enhance the suggestion of depth. The paintings include only buildings in landscapes--no human activity is evident. Some backgrounds to the buildings are very similar to those in “Activities of the Twelve Months,” examples from which are also on display here, suggesting that perhaps the album leaves here are related to other works of buildings in landscapes produced for the Ch’ing court. Chiao Ping-chen’s birth and death dates are unknown, but he is recorded as having been active up until the Yung-cheng reign (1723-1735), with documents indicating that his paintings were still in use as drafts in the early Ch’ien-lung reign (1736-1795).
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