石渠寶笈三編(延春閣),第四冊,頁1813&故宮書畫錄(卷五),第三冊,頁340&故宮書畫圖錄,第六冊,頁315-316&本幅畫柳蔭庭院,三名童子於春風中捉花絮,一翁服巾,閒立旁觀。畫題係出自白居易〈別柳枝〉:「誰能更學孩童戲,尋逐春風捉柳花。」與楊萬里的〈閒居初夏午睡起〉:「日常睡起無情思,閒看兒童捉柳花。」 畫幅構圖採邊角式,雖與浙派同樣傳承自馬、夏傳統,但卻了無浙派剛勁的筆調,處處洋溢著南宋院體繪畫抒情的風致。周臣弟子仇英的工筆人物畫,殆種源於此。&Outside a hall in the shade of willows, a scholar watches 3 children trying to catch willow flowers in the spring breeze. The theme derives from Po Chu-i's line, "Who is more at play than children, searching the spring breeze for willow flowers?" and Yang Wan-li's, "I listlessly rise from my nap, idly watching children grasp at willow flowers." The composition here is dominated by the foreground. Like the Che School style, it derives from the Ma Yuan and Hsia Kuei tradition, but without the powerful brushwork. The style here is from the lyrical one of the Southern Sung court. The fine-line figure painting of Chou's student Ch'iu Ying originates with the manner in this painting.&周臣(約西元一四五○至一五三五年),字舜卿,號東村。吳(今江蘇蘇州)人。畫山水師陳暹,傳其法於宋人,摹李、郭、馬、夏,用筆純熟,嘗授畫法於康寅。柳下茅堂,群山巃嵷,一翁閒立,看群童捉柳花,柳葉全用汁綠,稍變梅華鼠足點法為之,用筆輕靈之甚。通幅用筆皆輕靈挺勁,惟人物蕉屋,筆意穩健,遂覺澄靜而雅矣,是東村佳作。 &Chou Ch’en was a native of Kiangsu. In painting landscapes he took Ch’en Hsien (1405-1496) as his teacher. His style developed under the influence of the Sung masters, and he later transmitted his painting style to T’ang Yin. Before the backdrop of a lofty mountain range, a thatched hut lies secluded beneath a bending willow tree. A gentleman leisurely watches children romping happily as they attempt to catch falling willow flowers. The willow leaves are rendered lightly and sensitively in translucent green in variations of the “plum flower” and “rat’s foot” brushstrokes. In the figures, banana leaves, and cottage, the brush work moves steadily and firmly, producing a serene and elegant scene that is certainly one of Chou Ch’en’s most successful works.