书体:

色彩:

水墨

装裱形式:

卷

创作时间:

明世宗嘉靖十七年（1538）

文字类型:

质地:

本幅纸拖尾纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：（一印与半印不识）

题跋资料:

题跋类别：作者款识；作者：陈淳；题跋位置：本幅；款识：道复；书体：行书；全文： 印记：复父氏、白阳山人

题跋类别：作者款识；作者：陈淳拖尾东风飘飘不绝吹。游蜂舞蜨相追随。水花嫣然媚晴昼。深红浅白纷差池。高堂列筵散罗绮。朱帘掩映春无比。歌声贯耳酒如渑。醉向花前睡花里。人生行乐当及时。光阴有限无淹期。花开花谢寻常事。宁使花神笑侬醉。戊戌（西元一五三八年）冬日白阳山人道复书并图。；书体：草书；全文： 印记：复父氏、白阳山人

主题:

主要主题：花草水仙 主要主题：花草牡丹 主要主题：花草栀枝 主要主题：花草菊 主要主题：花草莲荷 主要主题：花草兰．蕙兰主要主题：花草茶花 

技法:

写意 没骨 双钩 

参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1034 收藏着录： 故宫书画录（卷四），第二册，页205 收藏着录： 故宫书画图录，第十九册，页171-176 参考书目： 1.〈明陈淳写生〉，收入国立故宫博物院编辑委员会编，《牡丹名画特展图录》（台北：国立故宫博物院，1987年四月初版），页39-40。2.林莉娜，〈陈淳的写意水墨花卉〉，《故宫文物月刊》，第324期（2010年03月），页84-99。3.陈阶晋，〈陈淳，丽high　吴门画派的浪漫与奇纵:台北故宫「水墨漫兴—陈淳书画展」〉，《典藏古美术》，第208期(2010年01月)，页108-。 内容简介（中文）： 陈淳（1484－1544），江苏长洲人。字道复，后来以道复而闻名，改字复甫，号白阳山人。画家天资聪颖，才华甚高，凡经学、古文、诗词、书法，无不精研通晓。尝从文征明学书画，极得文氏的讚许。画擅长写意花卉，尤妙写生，后人把他同徐渭并称「青藤、白阳」，代表明代中期水墨写意花卉画的新格调。亦画山水，笔迹放纵，对后世水墨写意画甚有影响。 将四季花卉数种，以折枝的形态穿插安置在手卷中，这是明代画家描绘花卉所常用的表现手法。依幅后拖尾自题，此卷作于1538年，年55岁。幅中折枝牡丹、兰、竹、槴子、荷花、水仙、山茶，并未安置在同一水平线上，高低远近又相互呼应的摆设，使构图活泼而生动。无论一笔挥就的中锋线条或是侧卧的墨点块，皆因水份饱满，浓淡墨色极具变化且行笔快速，而呈现豪迈放逸的笔调。在花卉造型上，钩花点叶的表现法，叶片呈正面平展，无向背，钩勒叶脉的线条使转自由率性，这些都是画家个人风格的表现。在画本幅之后，又接了一段画家草书七言古诗一首，笔踪潇洒，有笔飞墨舞之姿。诗图相契，可视为画家晚年画风的代表之一。（张华芝） 内容简介（中文）： 陈淳（西元一四八四—一五四四年）是明代中期，苏州地区的艺术家，兼善诗、书、画三艺。他曾以诸生资格贡入太学，卒业后，放弃作官的机会，回到苏州，过着纵情于艺术创作的生活。 这件草书写于五十五岁（一五三八），每行一字至三字，运笔提顿扭转，左倾右倒，或节制或奔放，如醉歌狂舞，纵横争折，毫颖分叉，不加修饰的笔触，形成若虚若实的飞白笔画，极富律动的美感。（拖尾之陈淳题草书诗） 内容简介（中文）： 陈淳（西元一四八三─一五四四年），长洲（江苏苏州）人。本名淳，字道复，后以字行，再改字复甫，别号白阳山人。生性颖悟，天才秀发，曾游学文征明门下，征明仅谦称为其举业师，而不敢以书画师自居。 陈淳专攻花卉，精研水墨法，笔简意全，前人批评为「一花半叶，淡墨欹豪，疏斜历乱之致，咄咄逼真」，为后世水墨写意画家的宗师。幅中之牡丹花呈正面，水墨浓淡浑然一片，虽不设色，有五彩鲜丽的感觉。 内容简介（中文）： 此幅以水墨写意，将牡丹、兰、竹、槴子、荷花、水仙、山茶等花卉，以折枝的形态穿插安置，用笔清新活泼，构图错落有致。花卉点叶浓淡相间，钩勒叶脉的线条使转自由率性，全图传达出一种清新高洁秀逸的情调，此皆画家个人风格的呈现。陈淳自中年以后，思想发生了转变，淡泊名利，寄情山林，晚年艺术臻于纯熟自如的境地。此卷作戊戌（一五三八）年，为陈淳五十六岁时的作品。(20100105) 内容简介（英文）： This “sketching ideas” work in monochrome ink depicts such flowers and plants as the peony, orchid, bamboo, jasmine, lotus, narcissus, and camellia. All depicted in the “broken stem” style, they are spread out in the composition using fresh and lively brushwork. Leaves and blossoms alternate between light and dark shades of ink, while the lines of the leaves and stems turn with natural ease, the entire work emitting a fresh and lofty purity expressing the artist’s personal manner. Starting from his middle years, Chen Chun’s thought underwent a major change as he chose to avoid fame and wealth, lodging his sentiments in nature instead. The purity and freedom of his later art testifies to this. This scroll was done in 1538 at the Chinese age of 56.(20100105) 内容简介（英文）： Ch’en Ch’un (sobriquet Po-yang shan-jen) was more commonly known by his style name, Tao-fu. He was a native of Ch’ang-ch’üan, Kiangsu, and was exceptionally gifted. His teacher, the famous painter Wen Cheng-ming (1470-1559), said of Ch’en that he himself could only suffice as Ch’en’s elementary teacher and that he dared not call himself Ch’en’s painting or calligraphy instructor. Ch’en Ch’un devoted himself to painting flowers and plants and specialized in the monochrome ink method. His brushwork is minimalist, yet remarkably expressive. It has been said, “If Ch’en paints even one flower and half a leaf, the ink wash is superb, the composition exquisite, and the result incredibly lifelike.” He was the forerunner of later schools of monochrome ink sketches. This peony in light and dark ink is depicted from the front. Even though executed in monochrome ink, it conveys a colorful and fresh feeling. 内容简介（英文）： Ch'en Shun was an artist in the Soochow area during the middle Ming who excelled at poetry, calligraphy, and painting. Although qualified to join the Court University, he gave up the chance for officialdom after graduating and returned to Soochow, where he enjoyed the freedom to create in art. This work in cursive script was done in 1538 at the age of 54. Each line contains one to three characters. The energetic application, lifting, and turning of the brush reveals characters that lean precariously with restraint as well as freedom--as if in an inebriated dance as they spill across the handscroll from right to left in a beautiful harmony. The split tip of the brush here resulted in an unadorned “flying white” effect of black and white when the paper shows through the ink.