陈洪绶

陈洪绶生活在明清更替之际。CMA馆藏记录将他的生卒年记为1598至1652年。馆方对其晚期册页的说明，特别指出人物、山水与花卉如何汇聚在同一套作品中：他并不追求日常观看中的自然比例，而有意创造一种古雅、奇异而高度精炼的视觉语言。

观看他的册页，可以先留意人物与山石的尺度关系，再看衣纹、树干与岩石轮廓的线条。馆方将这些微缩的世界与小型园林、案头供石相比，也联系到明遗民在时代变动中的处境。这是一种具体的馆方解释，不是对每一幅作品寓意的唯一判定。

本厅把整册记录与逐叶图像放在一起，方便比较构图如何变化。不同馆藏编号可能属于同一册页，图像记录数量不等于独立创作总数。

馆方作品解说 · 原文节选

The twenty paintings in this double album by Chen Hongshou include landscapes, figures, and flowers. It also has one leaf featuring a woman, an often-used subject not found in the other albums from the latter part of his career. His late works are wonderful summations of Chen's peculiar and quirky art—archaistic, hyper-refined—but without accompanying shallowness or sentimentality. His figures and landscapes in the late albums are miniaturized, not unlike the small Chinese gardens, or the carefully selected small table rocks or old roots used for contemplation to see the world in miniature. This loss of scale is quite deliberate and reflects the psychological situation of a depressed class like the Ming loyalist officials and scholars, deprived of their integrity and honor, and forced to lead a diminished and restricted existence.

对应《老蓮橅古》。查看馆方完整解说

中文介绍据馆方记录整理；观看提示为策展解读。生卒记录存在异说时以进一步考证为准。