故宮書畫錄(卷八),第四冊,頁165&* 陳淳(西元一四八三-一五四四年),江蘇長洲人。字道復,號白陽山人。精於經學、詩文,尤以書畫擅名。曾師事文徵明,中年以後畫風轉變,以寫意花卉及米家山水著稱。 湖石旁置草本花,花朵但用朱砂細點,湖石全賴渲染,不用皴紋。畫於甲戌(一五一四年),三十二歲,屬早年之作,清逸細緻,小巧可愛,尚見文徵明之影響。畫上有數人作詩唱和,惟文徵明不和韻,或為稍後補題。 本幅為「名人書畫扇冊」第二十開。 &* 陳淳畫擅長寫意花卉,後人把他同徐渭(一五二一-一五九三)並稱「青藤、白陽」,為明代中期吳派寫意花卉畫家代表。此幅畫扇繪湖石旁置草本花,花朵但用朱砂細點,湖石全賴渲染,不用皴紋。畫於正德甲戌(一五一四)年,陳淳是年三十二歲,屬早期作品,整幅清逸細緻,小巧可愛,尚見文徵明之影響。畫上有數人作詩唱和,惟文徵明不和韻,或為稍後補題。(20100105)&* Chen Chun specialized in flower painting, and later generations grouped him with another later master, Xu Wei (1521-1593), referring to them as “Qingteng and Baiyang.” Together they represented the “sketching-ideas” style of Wu school flower painting. This folding fan depicts a lake rock with grasses and blossoms. Though the flowers were touched with cinnabar, the rock was done only in ink washes without texture strokes. An early work, it was done in 1514 at the Chinese age of 32. The style is pure and refined, exhibiting a delicate, endearing quality that reveals Wen Zhengming’s influence. On it are several complementary poems by others; only Wen Zhengming’s is out of place, suggesting it was added at a slightly later date.(20100105)&*1.江兆申,〈陳淳湖石花卉 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304。 2.林莉娜,〈陳淳的寫意水墨花卉〉,《故宮文物月刊》,第324期(2010年03月),頁84-99。