收藏著錄@#@故宮書畫錄(卷八),第四冊,頁155@#@@#@收藏著錄@#@故宮書畫圖錄,第二十八冊,頁142-147
@#@@#@參考書目@#@林莉娜,〈清姚文瀚等繪山水樓臺畫冊 冊 芳亭採花〉,收入《百卉清供-瓶花與盆景畫特展》(臺北:國立故宮博物院,2018.10),頁36-39。@#@@#@內容簡介(中文)@#@姚文瀚生平籍貫不詳,多以佛道人物為主。此套冊頁中皆是清詞臣法書、宮廷畫家小品之作,姚文瀚此〈芳亭採花〉描繪園中仕女下棋、賞畫、插花等清賞活動,仕女開臉接近焦秉貞一系,惟眼部等五官特質又有其特色。姚文翰活動時間約在乾隆中期,其仕女可謂為陳枚後的清宮風格面貌。@#@@#@內容簡介(英文)@#@Little is known about the life of Yao Wen-han, including his birth and death dates, but most of his paintings done for the court were of Taoist and Buddhist figures. This set of album leaves includes calligraphy by Ch’ing poet-officials and painting by court artists. In this work, Yao Wen-han has depicted ladies playing wei-ch’i, appreciating paintings, and arranging flowers. The style of the ladies’ faces are in the manner associated with Chiao Ping-chen (fl. ca. 1689-1726), with only such facial feature as the eyes being in his own style. Yao Wen-han was active approximately in the middle of the Ch’ien-lung reign (r. 1736-1795), and his paintings of ladies can be said to be in the Ch’ing court style following after that of Ch’en Mei (ca. 1694-1745).