书体:

色彩:

设色,青绿

装裱形式:

轴

创作时间:

明思宗崇祯八年（1635）

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宝笈三编
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：陈洪绶；题跋位置：本幅；款识：莲子与翰姪。燕游于（旁作两点）终日。春醉桃花艳。秋看夫容色。夏踬深松处。暮冬吟雪白。事事每相干。略翻书数则。神心倍觉安。清谭写松石。吾言微合道。三餐岂愧食。乙亥（西元一六三五年）之春。洪绶自识。；书体：行书；全文： 印记：陈洪绶印、章侯

主题:

主要主题：人物高士（士人、隐士）一人主要主题：人物百姓 主要主题：人物侍从（侍女、童仆）童仆一人主要主题：树木松 ；次要主题：山水溪涧、湍泉 ；其他主题：山水  ；其他主题：山水江河、湖海 ；其他主题：花草菊 ；其他主题：花草芙蓉 ；其他主题：花草莲荷 ；其他主题：器用花器花篮；其他主题：器用 酒壶；其他主题：花草灵芝 

技法:

皴法 人物衣纹描法(粗细线条) 苔点 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2110 收藏着录： 故宫书画录（卷五），第三册，页478-479 收藏着录： 故宫书画图录，第九册，页79-80 参考书目： 1.李玉珉，〈陈洪绶乔松仙寿图〉，收入李玉珉主编，《古色：十六至十八世纪艺术的仿古风》（台北：国立故宫博物院，2003年初版），页259。2.〈明陈洪绶乔松仙寿图〉，收入国立故宫博物院编，《晚明变形主义画家作品展》（台北：国立故宫博物院，1977年九月初版），页436。3.李玉珉，〈明陈洪绶乔松仙寿图〉，收入蔡玫芬主编，《精彩一百　国宝总动员》（台北：国立故宫博物院，2011年九月初版一刷），页326。 内容简介（中文）： 陈洪绶（西元一五九八至一六五二年），浙江诸暨人。字章侯，早年自号莲沙弥，后号老莲。明亡后，又号悔迟、勿迟。人物、花鸟、草虫、山水无不精妙，皆能自出机杼，表现出高古奇骇，意趣盎然之特色。为晚明极具影响力之大画家。　洲渚之间，苍松、红树、夹叶三株，凌云杰起。一人紫袍朱履拱手立于树下，一童簪花携壶提榼从之。本幅构图奇绝，别出新意，线条用笔圆劲中锋。松、石造型规律，颇富图案装饰趣味。 内容简介（英文）： Chang-hou, Ch’en Hung-shou was a native of Chu-chi, Chekiang. In his early years he called himself Lotus Novitiate and later, Old Lotus; after the fall of the Ming in 1644 he chose the sobriquets Hui-ch’ih and Wu-chih. He was accomplished in the genres of figures, landscapes, flowers and birds, and grasses and insects. Ch’en’s idiosyncratic approach reveals the use of an exaggerated aesthetic whereby he transmogrifies his subjects into uniquely stylized forms. On anislet in the midst of a river grow three tall trees, including a pine, a tree with round, red leaves, and one with narrow, blue leaves. A man wearing a violet robe and red shoes stands under the trees, his hands clasped under his cloak. To the right, a young man with flowers in his cap attends his master, carrying a hu vessel over his right shoulder and a basket of flowers with his left hand. The composition of this painting is most ingenious. The liues are forcefully drawn throughout and were produced with a centered brush. The shaping of the pinetree and the rocks is very rhythmically stylized and presents highly decorative patterning. 网页展示说明 陈洪绶（1598－1652），浙江诸暨人。字章侯，自号老莲、悔迟。工绘画，为晚明变形主义的大家。本幅用笔沉稳，线条遒劲有力，设色明艳，构图奇绝。人物身躯伟岸，五官夸张，形貌怪异；松石造型规律，富图案装饰趣味。幅上款题有「莲子与翰姪，燕游于（点去）终日」之语，显然画中松树下的人物应该就是自署「莲子」的陈洪绶。虽然陈氏传世的画蹟甚多，但唯有此轴是他的自画像，自然弥足珍贵。(20110913) 网页展示说明 Chen Hongshou (style name Zhanghou; self-styled sobriquets Lianshami and Laolian), a native of Zhuji in Zhejiang, took the sobriquets Huichi (“Regretfully late”) and Wuchi (“No regrets”). He excelled at many painting subjects, including figures, birds-and-flowers, grasses-and-insects, and landscapes, being a master in the Transformational School of the late Ming.The brushwork in this painting is solid and steady, the lines powerful and with force, the colors bright and beautiful, and the composition unusual and unique. The body of the figure is large and stalwart with exaggerated facial features and a strange and eccentric appearance. The pine and rock forms are regulated, reflecting a strong interest in patterned decorativeness. This figure wearing a violet robe and red shoes in the painting is the person who signed himself “Lianzi” in the inscription: Chen Hongshou himself. Though there are many surviving works by Chen Hongshou, this is his only known self-portrait, making it naturally all the more precious.(20110913)