书体:

色彩:

设色

装裱形式:

轴

创作时间:

明世宗嘉靖二十三年（1544）

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝

题跋资料:

题跋类别：作者款识；作者：陈淳；题跋位置：本幅；款识：东风飘飘不复冷。游蜂舞蝶相追随。名花娇然媚晴昼。深红浅白纷差池。高堂别筵散罗绮。朱帘掩暎春无比。歌声贯耳酒如浇。醉向花前睡花里。人生行乐当及时。光阴有限无淹期。花开花谢寻常事。宁使花神笑侬醉。甲辰（西元一五四四年）春望在白阳山居。道复。；书体：草书；全文： 印记：白阳山人、复生印、（一印存姚字）

主题:

主要主题：花草牡丹 

技法:

写意 没骨 

参考资料:

收藏着录： 故宫书画录（卷五），第三册，页400-401 收藏着录： 故宫书画图录，第七册，页227-228 参考书目： 1.〈明陈淳画牡丹〉，收入国立故宫博物院编辑委员会编，《牡丹名画特展图录》（台北：国立故宫博物院，1987年四月初版），页39。2.〈明　陈淳　画牡丹〉，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198。 内容简介（中文）： 陈淳（西元一四八三－一五四四年），长洲人，字道复，后以字行，更字复甫，号白阳山人。天才秀发，尝游文衡山之门。 设色牡丹一枝，用没骨法，笔意极活泼而又极稳静，所惜颜料日久褪色，故觉稍淡，然而固无损其精妍也。款字鸾轩凤翥，沈酣至极，是白阳得意笔，璧合珠联，尤为可宝。 内容简介（中文）： 陈淳（西元一四八三─一五四四年），江苏苏州人。字道复，后以字行，再改字复甫，号白阳山人。曾游学文征明门下。画擅长写意花卉，后人把他同徐渭并称「青藤、白阳」，为明代中期吴派写意花卉画家代表。幅中设色牡丹一枝，墨色清雅，笔意活泼。款书于一五四四年，为晚年作品。题识同画各佔半幅，行书沈酣飞动，诗句借歌咏花卉传达「人生行乐当及时」的意趣。 内容简介（英文）： Ch’en Ch’un, a native of Soochow, Kiangsu, once was a disciple of Wen Cheng-ming. He excelled at painting flowers in the “sketching ideas” manner, later generations pairing him with Hsü Wei as “Ch’ing-t’eng and Pai-yang.” Ch’en was a most representative “sketching ideas” painter of flowers in the middle Ming Wu school. This work depicts a peony branch, the hues of the ink light and colors elegant with brushwork lively and sophisticated. The signature gives a date equivalent to 1544, making it a late work. The signature and painting each take up about half of the surface. The running script is intoxicating as it dances, the lines of poetry singing the praises of flowers, imparting the notion of “indulging in life’s pleasures at the appropriate time.” 内容简介（英文）： Ch’en Ch’un has depicted in color a branch of peony in the “boneless, “ or unoutlined, method. The brushwork is animated, yet the painting still has an air of tranquility. Slight fading has not harmed the blossom’s delicate beauty. From Ch’ang-chou, Kiangsu, the extremely gifted Ch’en Ch’un was a friend of the famous painter Wen Cheng-ming. 网页展示说明 陈淳（1483-1544），长洲人，字道复，后以字行，号白阳山人。天才秀发，曾游学于文征明门下，为明代中期吴派写意花卉画家代表，与作风狂放恣肆的徐渭（1521-1953）并称「青藤、白阳」。本幅作于明世宗嘉靖二十三年（1544），幅中画设色牡丹一枝甚清雅，用没骨法，笔意活泼而不失稳静，具写意意趣。可惜颜料日久褪色，故觉稍淡，然而无损其精妍。款字行书沈酣飞动，是晚年得意之作，书画同幅，璧合珠联，尤为可宝。(20110102) 网页展示说明 Chen Chun, a native of Changzhou, had the style name Daofu, which he later went by. He then took the style name Fufu, and he had the sobriquet Baiyang shanren. A genius of great talent, he at one point studied under Wen Zhengming (1470-1559), becoming the representative of Wu school flower painting in the "sketching ideas" manner during the middle Ming dynasty. Along with the wild and unbridled manner of Xu Wei (1521-1593), the two were known as "Qingteng and Baiyang." This work, which was completed in 1544, depicts a branch of exceptionally pure and elegant peonies in colors. Using the "boneless" method of washes, the brush manner is lively yet stable, much in the "sketching ideas" tradition. Unfortunately, many pigments faded over the years, leaving the work to appear slightly pale. theless, it takes nothing away from the refined beauty of the work. The bold running script of the artist's inscription is dashing and moving, revealing the confidence of the artist's later years. Both painting and calligraphy match perfectly here, making this scroll especially precious. (20110102) 网页展示说明 陈淳（1483-1544）、长洲の人、字は道复、后に字で名を知られた。号は白阳山人。天赋の才に恵まれ、文徴明门下で学んだ。明代中期呉派の写意花卉画を代表する画家。自由奔放な作风で知られる徐渭（1521-1593）とともに「青藤、白阳」と并び称される。 明代世宗嘉靖23年（1544）の作。着色された牡丹の一枝が清雅な雰囲気を湛えている。没骨法（轮郭线を用いない画法）を用いた、生命感溢れる笔遣いの中にも落ち着きがあり、写意の面白さが感じられる。残念なことに长い歳月を経て颜料が色褪せ、色がやや薄く感じられるが、その际立った美しさは损なわれていない。滑らかに舞い飞ぶような行书の款、晩年の会心の作である。珠玉の如き书画が一幅におさめられた贵重な作品。 (20110102)