"The Plough And Weave" Research During Kangxi Dynasty

China is a agriculture country, since ancient times to farming and sericulture combination way oflife as the basic structure of society. The history of China, who has have farsightedness ruler, isattached to mulberry silkworm weaving, many writers and artists are also on the theme, theheritage of the unique farming culture. Will people since the Han Dynasty in the form of imagereflects the process of agricultural production painting called "farming and weaving", originallyis only small painting. This kind of creation is one of the origins of the farming culture. In theSong Dynasty, with the development of agricultural economy,"the system of farming andweaving" creation multiple pictures."Farming and weaving" proposition has evolved, has notlimited to one or a set of drawings, it has become synonymous with the history of Chineseculture reflects the farming and cotton textile theme painting.Since the Southern Song Dynasty, Shu drawing "farming and weaving","farming and weaving"themed creation gradually into the system cycle mode. The later edition farming and weaving inthe Song Dynasty edition as an example, to copy and update. Kangxi period paintings "theplough and weave" although also in building Shu this as the foundation, but already insuccession each generation of "farming and weaving" version, is a great innovation. This versionis in the late Ming and early Qing Dynasty cultural background, influenced by Western paintingtechniques, used in Western painting perspective technique. The fusion of Chinese and Westernpainting techniques, given to "farming and weaving" theme painting with a new look, the papercalled "Kangxi edition". This paper thinks, compare every "farming and weaving" version, it hasa qualitative leap, turning significance.In the Kangxi version of "three farming and weaving" as the research center, is divided into thefollowing five parts: the first chapter is the introduction, mainly introduces the purpose andmeaning of this research, the related concepts and the current research status. The second chapterdiscusses the "farming and weaving" creation background, from the farming and weaving works illustrate the source of creation, the characteristics of the times the set of prints from theagricultural development during the reign of Kangxi, from the Kangxi foreign policy, theintroduction of the court that Chinese and Western painting techniques of the western fusionconditions. The third chapter, the emphasis on "farming and weaving" and the cultivation patternof inheritance relations,"the plough and weave" from the order, problems with interpretation ofpoetry, the dissemination way and carrier diversification. The fourth chapter is the focus of thispaper, to study the painting from the art form,"the innovative features that tillage weave" ofChinese and Western painting with. The fifth chapter is the epilogue, that "the effect ofploughing pattern" on the later art creation of traditional agricultural society, the role of culture.The author draws the conclusion from the above: in the process of the collision between Chineseand Western culture in the late Ming and early Qing Dynasty, the western culture on Chinesetraditional culture, especially the influence of Chinese traditional painting is very significant.Kangxi "the plough and weave" as a cultural carrier absorption of the western art techniques, haseffectively absorb the skills of Western science drawing to achieve effective communication,which in modern Chinese society, the agricultural policy implementation, dissemination offarming culture played a great role.