收藏著錄@#@石渠寶笈續編(重華宮),第三冊,頁1750@#@@#@收藏著錄@#@故宮書畫錄(卷六),第四冊,頁156-157@#@@#@收藏著錄@#@故宮書畫圖錄,第二十四冊,頁246-247@#@@#@內容簡介(中文)@#@清陳書梅花水仙
陳書,生在清世祖順治十七(公元一六六0)年,死在高宗乾隆元(公元一七三六)年,浙江秀水人,號上元弟子。晚年號南樓老人,嫁嘉興人錢綸光為妻,後因兒子錢陳群顯貴,誥封太淑人。生性嗜好繪畫,習作勤奮,花鳥、山水、人物和佛道神像,無所不能,其中尤以花鳥最出色。她的畫法是結合水墨和用色二種,融合以出的,所以,既有色彩的艷麗,又有水墨的淡雅,至於用筆,更是圓勁飛動近似陳道復,前人用「筆力老健、風神簡古」八字來形容她,頗為中肯。
@#@@#@內容簡介(英文)@#@Plum and Narcissus
Ch’en Shu (1660-1736)
Ch’ing Dynasty
Ch’en Shu (hao Shang-yuan ti-tzu; later she used the name Nan-lou lao-jen) was a native of Hsiu-shui in Chekiang. She married Ch’ien Lun-kuang of Hai-yen and, because of the fame of their son Ch’ien Ch’en-chun, she was later given the title T’ai-shu-jen. She had a natural love of painting which she applied to flowers and birds, landscapes, figures, and Buddhist and Taoist subjects. Although she painted all types of subjects well, it was particularly in the area of flowers and birds that her talent found expression. She used a combination of the monochrome ink and colored techniques so that her paintings possess both the beauty of color and the restrained elegance of monochrome ink. Her use of the brush, with its forceful but flying rhythms, is related to that of Ch’en Tao-fu. A former critic used the phrase “a strong and robust brush with a spirit unruffled by the ancients “to describe the flavor of Ch’en Shu’s style.