石渠寶笈續編(乾清宮),第二冊,頁532-534&*故宮書畫錄(卷八),第四冊,頁28&*陳淳(西元一四八三-一五四四年),字道復,別號白陽山人,江蘇長洲人。精於經學、詩文、書法、篆籀,又好繪事。早歲曾遊文徵明之門,中年以後畫風轉變,以寫意花卉及米家山水著稱。本幅為「明人畫扇-元」冊第廿開。寫紫薇花凌空倒掛,坡阤迤邐於下。構圖採中央突破式,運筆則多見偏峰,充滿了勁利之美。前人嘗評為「一花半葉,淡墨欹豪,疏斜歷亂之致,咄咄逼眞。」証諸此畫,當知所言不虛!&* 此幅畫扇寫紫薇花淩空倒掛,坡阤迤邐於下。幅中有陳淳自題云:「繁葩疑雜沓,錦色自玲瓏」。構圖採中央突破式,運筆則多見偏鋒,充滿了勁利之美。花葉枝幹均以沒骨法出之,用筆蘊藉,設色清麗,繼承文徵明(一四七○-一五五九)花鳥之柔婉秀逸的特色。畫幅上並無年款,因其晚年所畫多是水墨寫意花卉,推測此幅應是五十歲以前的作品。選自〈明人畫扇-元〉冊第廿開。 (20100105)&* This folding fan depicts a branch of blossoming crape myrtle bending into the composition above the slope. The inscription by Chen Chun describes how the riot of blossoms makes for a brocade of colors. The arrangement is divided in half by the main motif, the brushwork done mostly with a slanted tip expressing beauty with its sharpness. The blossoms, leaves, and branch were done in “boneless” wash methods, the brushwork restrained and the colors pure and beautiful, much in the delicate style of Wen Zhengming’s bird-and-flower painting. Though undated, Chen did mostly ink “sketching-ideas” works in his later years, so this perhaps was from around the age of 50. It is the 20th leaf in the yuan album of “Ming Fan Paintings.”(20100105)