芥子园画谱

《芥子园画谱》，又名《芥子园画传》，是清朝康熙年间的一部著名画谱，详细介绍了中国画中山水画、梅兰竹菊画以及花鸟虫草绘画的各种技法，其名由来为李渔在南京的别墅‘芥子园’。

主要作者有王氏三兄弟王概、王蓍、王臬，还有诸升等人，主持画传编著的沈心友，是清初著名文士李渔女婿。

芥子园画谱代表着清代前期雕版彩色印刷的高峰。版本学家赵万里先生称之“初印本用开化纸套色精印，绚丽夺目。此书为画学津梁，初学画者多习用之”。

覆刻重刊多次的芥子园画谱，至今仍以其独特的艺术魅力为人推崇，近代的中国画家如黄宾虹、齐白石、潘天寿、傅抱石等都把此书作为学习范本。

目录

山石谱

人物屋宇谱

摹仿各家画谱

横长各式

宫纨式

折扇式

增广名家画谱

翎毛花卉谱

增广名家画谱

Manual of the Mustard Seed Garden (芥子園畫傳, Jieziyuan Huazhuan), sometimes known as Jieziyuan Huapu (芥子園畫譜), is a printed manual of Chinese painting compiled during the early-Qing Dynasty. Many renowned later Chinese painters, like Qi Baishi, began their drawing lessons with the manual. It is an important early example of colour printing.

The work was commissioned by Shen Xinyou (沈心友), whose mansion in Lanxi, Zhejiang province was known as Jieziyuan, or Mustard Seed Garden. Shen possessed the teaching materials of Li Liufang (李流芳), a painter of the late-Ming dynasty, and commissioned Wang Gai(王概), Wang Shi (王蓍), Wang Nie (王臬), and Zhu Sheng (诸升) to edit and expand those materials with the aim of producing a manual for landscape painting. The result was the first part of Jieziyuan Huazhuan, published in 1679, in five colours. It comprises five juan (卷) or fascicles. Li Yu, as the publisher, wrote a preface for this part. The first fascicle deals with the general principles of landscape painting, the second the painting of trees, the third that of hills and stones, the fourth that of people and houses, and the fifth comprises the selected works of great landscape painters.

The volume also entered Edo period Japan, where woodblock printed copies became relatively easily accessible in all the major cities; the Mustard Seed Garden Manual came to be used by Japanese nanga (bunjinga) artists and was an important element in the training of nanga artists and the development of nanga painting.

Two more parts, which deal with the painting of flora and fauna, were produced by Wang and his two brothers and published 1701. Shen promised a fourth part, but never published it. A fourth part, which deals with portraits, was produced by some quick profit-seeking publisher, though. Chao Xun (巢勛) (1852–1917), dissatisfied with the fake, produced his own sequel, as well as carefully reproduced the first three volumes. Reprints of the first three volumes are usually based on Chao's reproduction.

An English translation of the work, The Tao of Painting – A study of the ritual disposition of Chinese painting. With a translation of the Chieh Tzu Yuan Hua Chuan or Mustard Seed Garden Manual of Painting 1679–1701, was made by Mai-mai Sze and published in New York in 1956.