秘殿珠林續編(乾清宮),頁242 &*故宮書畫錄(卷八),第四冊,頁65 &*故宮書畫圖錄,第四冊,頁143-144&*陳琳(約西元一二六0—一三二0年),錢塘(今浙江杭州)人。字仲美,陳鈺次子。兼作山水、人物、花鳥,殆由師古脫胎而出,又因與趙孟頫(一二五四—一三二二)交遊,受益頗多,故畫不俗。 本幅著錄於《秘殿珠林續編》。畫坡坨林木,鍾馗執笏回首,布局與文徵明「寒林鍾馗」相近,惟技藝略遜一籌,應屬明代畫家託名之作。&*Ch'en Lin (style name Chung-mei) was the son of Ch'en Yü and a native of Ch'ien-t'ang (modern Hangchou, Chekiang). He was an accomplished painter of landscapes, figures, and birds-and-flowers who derived inspiration from the ancients to formulate his own style. He befriended one of the leading scholar-official painters of the day, Chao Meng-fu (1254-1322), and his style was influenced and became refined. This painting traditionally attributed to Ch'en Lin is listed in the catalogue of the Ch'ing (1644-1911) imperial collection of painting and calligraphy. Chung K'uei holds an official tablet and looks over his shoulder at the trees, which (along with the slope and composition) are similar to those in "Chung K'uei in a Wintry Grove" by Wen Cheng-ming (1470-1559). The technique in the Ch'en Lin version, however, is slightly inferior, suggesting it may be the work of a Ming (1368-1644) painter with his interpolated signature.&*1.劉芳如,〈傳元陳琳寒林鍾馗〉,收入國立故宮博物院編輯委員會編,《迎歲集福 — 院藏鍾馗名畫特展》(臺北:國立故宮博物院,1997年二月初版一刷),頁137-138。