石渠寶笈初編(養心殿),上冊,頁500-501&*故宮書畫錄(卷八),第四冊,頁164&*1.劉芳如,〈明人畫梅花〉,收入國立故宮博物院編輯委員會編,《畫梅名品特展》(臺北:國立故宮博物院,1991年元月初版),頁94-95。 2.〈明人 梅花〉,收入譚怡令、劉芳如、林莉娜主編,《滿庭芳 歷代花卉名品特展》(臺北:國立故宮博物院,2010年十二月初版一刷),頁128。 &*本幅選自〈明人畫扇冊〉。畫一株梅花自右下方延伸而入,主幹上復側出一枝,姿態恰與扇面之弧形相互呼應。另一梅枝則先往下延伸,再傲然上揚,令構圖由外張之勢,轉而為蘊含內聚之力。通幅筆致細膩而工整,枝幹與花蕊俱用雙鉤填色法,雪白色的花瓣、嫣紅色的花萼,與焦墨苔點相映成趣,且洋溢著無比典雅的氣息。 畫上並無作者款印,因有文震亨(1585-1645)、邵彌(17世紀)、孫繼皐(1550-1610)、管玉音(17世紀)等四則明末文人的題詩,故訂為是明人作。(20110102)&*This leaf, originally a folding fan, comes from “Album of Ming Painted Fans.” It depicts the branch of a plum tree in blossom extending from the right towards the left and up out of the composition. The upper branch extending to the left contrasts with the arc of the main branch, creating an arrangement that also complements the shape of the fan. Another branch extends leftward along the bottom, exiting the composition and reemerging at the left. This arrangement gives the composition a sense of expansiveness that becomes a kind of force with inner coherence. The brushwork throughout is exquisite and neat, the branches and blossoms being done in double outlines filled with colors. The snow-white petals and bright-red calyxes contrast with the scorched-black moss dots, giving the painting an atmosphere of incomparably classic elegance. Though no seal or signature of the artist appears on this work, there are inscriptions of poetry by such late Ming literati as Wen Zhenheng (1585-1645), Shao Mi (17th c.), Sun Jigao (1550-1610), and Guan Yuyin (17th c.). Thus, this painting is most likely the work of a Ming dynasty artist.(20110102)