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装裱形式:

册(折装‧方幅式)

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文字类型:

质地:

本幅纸对幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
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：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：宁寿宫续入石渠宝笈
鑑藏宝玺：乐寿堂鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：静寄轩图书印（重十四）
收传印记：子孙宝之
收传印记：臣岱私印

题跋资料:

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收藏着录： 故宫书画录（卷六），第四册，页88-89 收藏着录： 石渠宝笈续编（宁寿宫），第五册，页2875 收藏着录： 故宫书画图录，第二十三册，页234-237 参考书目： 1.〈明陈洪绶杂画〉，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464-465。2.刘芳如，〈明陈洪绶古梅〉，收入国立故宫博物院编辑委员会编，《画梅名品特展》（台北：国立故宫博物院，1991年元月初版），页95-96。3.刘芳如，〈陈洪绶仕女〉，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54。4.刘芳如，〈明陈洪绶仕女〉，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86-87。5.〈明　陈洪绶　红杏〉，收入谭怡令、刘芳如、林莉娜主编，《满庭芳　历代花卉名品特展》（台北：国立故宫博物院，2010年十二月初版一刷），页102。6.〈明　陈洪绶　古梅〉，收入谭怡令、刘芳如、林莉娜主编，《满庭芳　历代花卉名品特展》（台北：国立故宫博物院，2010年十二月初版一刷），页224。7.刘榕峻，〈写此自怡悦，我将安所之? 试论陈洪绶〈杂书册〉中的画艺与心境〉，《故宫文物月刊》，第336期（2011年3月），页32-40。 内容简介（中文）： 陈洪绶（1598－1652），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。专工人物，旁及花鸟、草虫、山水。他的画自出心机，喜用夸张手法，表现古拙变形的趣味。 是册作于明亡后一年（1645），时年四十八岁，画人物、花卉、竹石等。通册构图精简，笔线细劲圆熟，花卉的花叶笔笔沈稳，设色清丽。人物衣纹遒劲有力，造型古拙奇特，正是其晚年独特面目之代表。此次展出第一、四、八、九开。(20110913) 内容简介（中文）： 陈洪绶（西元一五九八－一六五二年），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。专工人物，旁及花鸟、草虫、山水。他的画自出心机，喜用夸张手法，表现古拙变形的趣味。 是册十幅，含人物、花卉、竹石，作于明亡后一年（一六四五），时四十八岁。构图精简，设色雅淡，与早年之繁复秾豔不同，是他的精心之作。 内容简介（英文）： Ch'en Hung-shou, a native of Chekiang, was a master of figure painting and also accomplished in painting birds-and-flowers, insects-and-grasses, and landscapes. Ch'en's idiosyncratic style reveals the use of an exaggerated aesthetic, whereby he transformed subjects into uniquely stylized forms. In this album are ten paintings of various subjects, including figures, flowers, and bamboo and rocks. Ch'en painted this album in 1645, a year after the fall of the Ming dynasty, when he was 46. The compositions are all exquisite and simplified, and the colors are elegantly subdued. These paintings are very different from the often complex and brightly colored compositions of his early paintings. 内容简介（英文）： Chen Hongshou (style name Zhanghou, early self-styled sobriquet Lianshami, later sobriquet Laolian) was a native of Zhuji in Zhejiang. After the fall of the Ming dynasty, he also took the sobriquets Huichi (“Repenting Late”) and Wuchi (“Don’t Be Late”). He was a master of figure painting and also accomplished in bird-and-flower, insect-and-grass, and landscape subjects. Chen’s idiosyncratic style reveals his own exaggerated aesthetic, in which he transformed subjects into uniquely stylized and archaic forms. In this album done in 1645, when the artist was 48 by Chinese reckoning, are figure, flower, and bamboo-and-rock paintings. The compositions are all exquisite and simple, and the brush lines are fine yet strong and skillful. Each of the brush strokes for the flowers and leaves is steady, and the colors are pure and beautiful. The drapery lines of the figures are strong and powerful, the forms archaic and unusual, reflecting exactly the unique manner of Chen’s late style. Leaves 1, 4, 8, and 9 are on display in this exhibit.(20110913)