石渠寶笈續編(乾清宮),第二冊,頁754&*故宮書畫錄(卷八),第四冊,頁115&*故宮書畫圖錄,第十二冊,頁305-306&*汪承霈(?—一八○五年),籍貫安徽休寧。乾隆十二年高中舉人,對於詩詞、古文及繪畫,均有深入的研究。 利用蝴蝶來與香花搭配,在花卉畫的題材裡,非常普遍。本幅的主題雖是洋菊,不過左上方那兩隻翩翩飛舞的粉蝶與鳳蝶,由於黑白對比強烈,卻極具有畫龍點睛的效果。古人為了模擬蝶翼黝黑的色澤,曾經嘗試用鍋底的黑煙來替代墨錠。本幅中的鳳蝶,便是一個例證。&* Wang Ch’eng-p’ei, a native of Anhwei province, was a chü-jen civil service candidate of 1747. He excelled at poetry, ancient writing, and painting. The depiction of butterflies with blossoms is common in the theme of flower painting. Although the focus of this work is on the large mums, in the upper right among the blossoms are two gorgeous butterflies (one small and the other large) overlapping each other in flight. The contrast between black and white is quite strong, but it effectively brings this work to life. In the past, painters imitated the unique dark color of some butterfly wings by using the scorched black from the bottom of cooking pots. The coloring of the black butterfly here is evidence of such a practice. &*1.王耀庭,〈汪承霈畫菊〉,收入國立故宮博物院編輯委員會編,《草蟲畫特展圖錄》(臺北:國立故宮博物院,1986年初版),頁76。 2.劉芳如,〈中國古畫裡的草蟲世界 — 「草蟲天地」特展介紹(下)〉,《故宮文物月刊》,第221期(2001年8月),頁95。