石渠寶笈三編(延春閣),第六冊,頁2683&*故宮書畫錄(卷八),第四冊,頁163&* 陳舒,字原舒,一作元舒,號道山,浙江嘉善人,一作華亭(今上海市松江)人,僑居江寧(今南京)雨花臺下。順治六年進士。書似蘇軾,工花鳥、草蟲,似不經意而多恣趣。尤長畫荷,間作山水,疎秀閒冷。 士人獨坐靜聽泉聲,其後有竹數竿,冷冷挺秀,側旁石壁峭立,景極清幽。幅內勾畫竹葉,筆甚清勁挺拔,皴石則用小斧劈法,短截剛勁,畫人亦不俗。此圖構景平實,雖著筆不多,別有一番清逸之氣。 本幅選自「國初人山水集繪冊」第十開。 &*Gazing at a Waterfall Ch’en Shu (fl. second half of 17th century) Ch’ing Dynasty Ch’en Shu (style name; Yüan-shu, sobriquet; Tao-shan) was recorded as either being a native of Chia-shan, Chekiang or Hua-t’ing (modern Shanghai, Sung-chiang). He later moved to Chiang-ning (modern Nanking) and resided below the Yü-hua Pavilion. In 1649 he received his chin-shih civil service degree. His calligraphy was similar to that of Su Shih (1037-1101). He was good at depicting birds, flowers, insects, and grasses, which are simple yet multifarious. He especially excelled at painting lotuses and also did landscapes of sparse elegance. In this painting, a scholar is seen sitting quietly alone as he listens to the sound of a falling spring. Behind him are several bamboo stalks which appear deserted and beautiful. To the side stands a precipitous rocky cliff, making this a scene of extreme tranquility. The bamboo leaves are depicted with very pure and powerful brushwork. The textured rocks are rendered in the method of small axe-cut strokes which are short and vigorous. The depiction of the figure is not commonplace either. Even though the composition of this scene is ordinary and there are not many brushstrokes, this work possesses an air of purity and elegance.