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题跋类别:作者款识;作者:陈洪绶前副叶一枫谿洪绶标记;书体:行书;全文: 印记:章侯、陈洪绶印主题:
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收藏着录: 石渠宝笈初编(养心殿),上册,页492-493 收藏着录: 故宫书画录(卷六),第四册,页87-88 收藏着录: 故宫书画图录,第二十三册,页238-243 参考书目: 1.李玉珉,〈陈洪绶隐居十六观〉,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259-260。2.马孟晶,〈陈洪绶缥香〉,收入刘芳如、张华芝主编,《群芳谱 — 女性的形象与才艺》(台北:国立故宫博物院,2003年初版一刷),页114。3.〈明陈洪绶隐居十六观〉,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490-491。4.王静灵,〈别出心裁 — 试论陈洪绶 《隐居十六观》图册的形制〉,《故宫文物月刊》,第273期(2005年12月),页68-77。5.王耀庭,〈明陈洪绶孤往〉,收入王耀庭编,《渊明逸致特展图录》(台北:国立故宫博物院,1988年初版),页109。6.刘芳如,〈明陈洪绶缥香〉,收入国立故宫博物院编辑委员会编,《仕女画之美》(台北:国立故宫博物院,1988年四月初版),页86。7.李玉珉,〈明陈洪绶品梵〉,收入李玉珉主编,《罗汉画》(台北:国立故宫博物院,1990年初版),页81。8.成怡夏,《从晚明城市文化看陈洪绶画中的隐逸人物---以《隐居十六观图》为中心 》,国立清华大学历史研究所硕士论文,1996年。 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,号老莲。甲申后自称悔迟,又曰勿迟。人物花鸟草虫无不精妙,皆能自出机杼。 隐居十六观,故事不可尽索,盖画隐士生活中可入画者十六事。其中固有借古高人以点题,而或为老莲眞实生活之经历,借画写意,以寄幽情耳。据款为老莲五十四岁所绘,乃逝世前一年作品。老境之作,无论创意、构图、设色,均有其特色。 内容简介(中文): 陈洪绶(西元一五九八—一六五二年)是明清之际,活动于浙江的「文人职业画家」。长于人物与花鸟画。他的书法不及绘画有名,不过具有独特的面貌,清代评论家以「逸品」称之。 这件书蹟写于五十四岁(一六五一),一夜醉饮西子湖,有佳人侍候笔砚,在十六幅描写隐居雅趣的画前,题诗抒发感时伤暮的心境。这些清瘦、飘逸,像兰叶一般的撇笔与捺笔画,散发出细腻、优雅的气质。(副叶之隐居十六观自题) 内容简介(英文): Ch'en Hung-shou was a “scholar-professional painter” active in the Chekiang area from the Ming to Ch'ing dynasties. He excelled at painting figures and birds-and-flowers. Though his calligraphy was not as famous as his painting, it has an equally individual appearance which Ch’ing dynasty (1644-1911) critics called “unique”. This work was done by Ch'en in 1651 at the age of 53. After a night of drinking at West Lake, two beautiful ladies attended him with brush and ink stone. Before each scene describing the pleasures of reclusion, Ch'en wrote poetry to express his underlying sorrow at heart. The elegantly thin and willowy brushwork is similar to the descending strokes in painting orchid leaves, and it thus gives rise to a form of delicate yet sorrowful elegance. 内容简介(英文): Sixteen Views of Hermetic LivingCh’en Hung-shou (1598-1652)Ming dynasty Ch’en Hung-shou was a native of chu-chi, Chekiang. A “left-over” subject of the Ming, he styled himself Hui-chih (Late for Repentance) following the fall of the dynasty, only to take the sobriquet Wu-ch’ih (Not Late) as well. His figure, insect, and birds-and-flowers paintings are all excellent, each expressive of Ch’en’s unusual, lyrical view of the world. Though the apecific stories described in “Sixteen Views of Hermetic Living” are not known, they seem to reflect various aspects of the ideal existence of the Chinese recluse. Probably, Ch’en has called forth allusions from classical examples of hermits of the past which he has intertwined with his own personal experiences. The painting was made when Ch’en was fifty-five, one year before his death, and thus represents the heights of skill that he attained in his late years.