故宮書畫錄(卷八),第四冊,頁163&* 葉與榦全用老綠一再漬染,是沒骨寫生法。因泥金地上有油質,本不托色,故筆迹重複,鋒芒都盡,布景不多,自有一種簡秀樸質之韻。書法較晚年略覺軟熟,疑五十至六十歲間作品。&*1476-1486 Shen Chou Hibiscus The stems and leaves of the hibiscus are painted with bright green applied in repeated washes. This is the “boneless method” in which a framework of ink “bones” or outlines is not used. Because the gold paper of the fan was highly sized, it did not absorb the color, and the individual brushstrokes are invisible. Very little is represented; there is simply under-stated elegance and unembellished harmony. The style of the calligraphy is more regular and substantial than that of his later years. “Hibiscus” was thus probably painted when Shen Chou was in his 50’s. &*1.江兆申,〈沈周秋葵 扇〉,收入國立故宮博物院編,《吳派畫九十年展》(臺北:國立故宮博物院,1975年初版,1976年再版,1981年三版),頁297。