石渠寶笈三編(延春閣),第五冊,頁2164&*故宮書畫錄(卷五),第三冊,頁516&*故宮書畫圖錄,第十冊,頁101-102&*王武(西元一六三二至一六九○年),江蘇長洲人。字勤中,號忘庵,自稱雪顛道人。精於鑑賞,家富收藏,於宋元明諸大家名蹟,往往心摹手追,務得其遺法,故所畫花鳥動植物等,任筆宣染,皆具足生意,脫盡院畫習氣。名高當代,時人以之比擬惲壽平。&* Wang Wu (style name Ch’in-chung; sobriquet Wang-an) was a native of Ch’ang-chou, Kiangsu. He was a fine connoisseur and possessed a rich collection of art. Wang would often copy the works of the great masters of the Sung, Yűan, and Ming dynasties, gaining mastery of their techniques. Thus, when he painted flowers, birds, animals, and figures, his brush spontaneously infused the subject with great vitality and freed him from the cliches of the academic style. He was widely known by contemporaries and was often compared with Yűn Shou-p’ing.&*王武(西元一六三二-一六九O年),江蘇長洲人。字勤中,號忘庵,自稱雪顛道人。明代名士王鏊六世孫,家富收藏,精鑑賞,於宋元明諸大家名蹟,往往心摹手追,務得其遺法,故所畫花鳥動植物等,任筆渲染,皆具足生意,脫盡院畫習氣。 此幅帶有明代水墨花卉大家陳淳遺風,極其清雅。 &*Wang Wu, a native of Ch’ang-chou (Soochow) in Kiangsu, went by the style name Ch’in-chung, the sobriquet Wang-an, and the self-styled name Hsüeh-tien tao-jen. The sixth generation descendant of the famous Ming scholar Wang Ao, his family possessed a large art collection. With a keen eye, he often focused on copying authentic works of masters from the Sung, Yüan, and Ming dynasties and acquired their methods. That is why the flora and fauna of his paintings are so lifelike in both brushwork and color washes, making them far removed from the academy painting style. This work retains traces of the monochrome ink style of the flower painting master Ch’en Ch’un (1483-1544) of the Ming dynasty, making it quite pure and elegant.