深秋隱趣。庚申重九既望，作於婁水之月滿樓。道樗陳祼。 鈐印：陳祼、白室
(傅申引首)秋林隱趣，陳祼畫卷，八十五翁傅申題 鈐印：君約審定書畫、傅申
(傅申後跋)陳道樗〈深秋隱趣圖〉卷，乃其壯年所作，卷後有清末粵人顏世清於長春榷署跋。按近人罕知顏氏其人，余於一九五O年代末，與葉恭綽後人公超先生熟稔。曾聞顏氏與其叔相知，並稱其因跛一足，故友人以「顏瘸子」稱之。其家富有能鑑賞收藏之富，為當代之冠。恭綽藏品都自顏氏轉來。其後多為日人所得。余久思為顏叟撰一文，每遇其跋文必收錄之。故余觀是卷顏氏精跋，查之為其三十七歲所書，心甚欽羨。按陳祼，初名瓚，吳縣人。遠宗二趙(伯駒、孟頫)，近師文徵仲，晚居虎丘。此卷顏氏跋云，「其筆墨近沈士充」，信然。董思翁之雲間派影響深遠，真大家也。此跋未及半，而昔日門生麗雲來晤，且攜志揚「華下忘歸」朱文引首印，真大出意料。其兄平南曾為余治印，纔云無其弟之印，今夢想成真，生平快事，無與其比。據國豪云，余於臺大開課時，有臺藝大學生建宏及麗雲來聽課，此十五年前事矣。庚子莫春，八十五翁君約傅申跋於何創時書法基金會。
賞析
Pursuing Reclusion in Autumn is a beautiful and elegiac vision of the transition into reclusion, represented at the end of the scroll on the left hand side by a modest mountain villa. By means of the handscroll, which needs to be read from the right to left, Chen Guan (1563–ca. 1639) engages the viewer to traverse a lake and then surpass a steep mountain range before finally encountering the traveler who, supported by a stick, is arriving at a mountain villa nested among protective autumnal trees. Chen Guan thus shows us the difficulties that the pursuit of reclusion involves. Not only are we witness to the physical hardships involved when trying to reach a reclusive place. Metaphorically, the crossing of a lake and mountains also alert to difficulties encountered when having to separate oneself from the mundane world of daily affairs. Chen Guan's Pursuing Reclusion in Autumn thus plays on the age-old trope of reclusion in Chinese culture that understands the mountain hermit as somebody who stays true to him- or herself and who pursues his or her own moral compass despite the pressures that, for example, a life at court could engender.
Chen Guan's Pursuing Reclusion in Autumn is painted in light colors and ink on paper. The artist captures beautifully different moods that can be connected to different states of being involved while journeying into reclusion. The opening of the scroll, on the right, starts with a lakeside that is deeply enveloped in thick mists arising from the water's surface. Only occasionally can we see emerging reeds, bamboo, and autumnal trees that appear to line the water body's shore. Amidst these waters, we also see three boats of fishermen, a symbol for the recluse. The obscured vision and restricting atmosphere change abruptly once we leave the lakeside and traverse the mountain: darker ink tones, a nearly menacing and powerful waterfall as well as tall trees amid a rugged landscape make the journey more difficult and, occasionally, more dangerous. Fortunately, a bridge allows potential travelers to reach a mountain path that clings precipitously to a mountain. After passing the mountain, we enter the third and last part of the handscroll: protected by a mountain and autumnal trees, the scene of arrival at the mountain villa is one of tranquility and soothing seclusion.
This handscroll of 265 cm length and 27 cm height is rare among the surviving work of Chen Guan whose oeuvre otherwise nearly exclusively consists of hanging scrolls and fans in quite disparate styles. It is evidence that the classical style of the famous early Ming painter Shen Zhou (1427–1509) was still popular towards the end of the Ming dynasty among artists from Suzhou: Chen Guan's use of a distinctively pale color palette, the painting of elevated terraces and the texturing of the mountains all loosely recall the style of the Wu School of his more famous predecessor. At the same time, Chen Guan's painting shows how other regional styles were in constant exchange during the late Ming: Chen Guan's distinctly painted waterfall at the center of the composition is echoed in (or an echo of?) paintings by Shen Shichong (fl. ca. 1607–after 1640), a painter from Huating (today's Shanghai).
陳祼（1563~約1639）所畫的《深秋隱趣圖》是一幅美麗而壯觀的手卷，表現了文人嚮往隱居的一種過渡心情。在畫卷的左端是一座簡陋的山房。通過手卷從右到左閱讀的動線，畫家讓觀眾穿越一個湖泊，然後越過一個陡峭的山脈，最後與旅行者相遇。他在拄著一根笻杖，到達了一個坐落在秋林中的山房。陳祼向我們提示了追求隱居的困難。我們不僅見證了試圖到達隱居地時的身體困難。從隱喻的角度看，穿越湖泊和山脈也提醒我們將自己與俗世分開時遇到的困難。因此，《深秋隱趣圖》發揮了中國文化中古老的隱居特質，將山中隱士理解為忠於自己的士人，儘管宮廷生活可能帶來壓力，依然追求自己的道德標準。
《深秋隱趣圖》用淺色和水墨在紙上作畫。藝術家捕捉到了不同情緒，將進入隱居狀態時的不同狀態聯繫在一起。畫卷的開頭，是一個深深籠罩在水面濃霧中的湖畔。我們只能偶爾看到出現在水體岸邊的蘆葦、竹子和秋天的樹木。在這些水域中，我們還看到三艘漁民的船，這是隱者的象徵。一旦我們離開湖邊，穿越山峰，模糊的視線和隱密的氣氛會突然改變：更深的水墨色調，近乎洶湧澎湃的瀑布，以及崎嶇不平的地形中的高大樹木，使旅程更加艱難，偶爾也更加危險。幸運的是，一座橋使旅行者能夠到達一條山路，這條山路險峻地緊貼著一座山。通過山之後，我們進入手卷的第三部分，也是最後一部分：在山丘和秋樹的環繞下，山房是寧靜和舒緩的隱居景緻。
常見的陳祼作品是風格迥異的掛軸和扇面。這幅長265釐米、高27釐米的手卷，在現存的陳祼作品中非常罕見。《深秋隱趣圖》證明明朝中期畫家沈周（1427~1509）的古典風格，在明末的蘇州畫壇依然流行著。陳祼使用獨特的淡色調，高處的梯田和山的紋理，都讓人直覺地想起吳派前輩的風格。同時，陳祼的作品也顯示了其他地區的風格，在晚明時期是如何不斷交流融合。例如畫幅中央的瀑布，可與華亭（今日的上海）畫家沈士充（約1607年~1640年後）的畫作相呼應。
Henning von Mirbach, Research assistant, HCS Calligraphy Arts Foundation
米翰寧 何創時書法基金會 副研究員
Pursuing Reclusion in Autumn is a beautiful and elegiac vision of the transition into reclusion, represented at the end of the scroll on the left hand side by a modest mountain villa. By means of the handscroll, which needs to be read from the right to left, Chen Guan (1563–ca. 1639) engages the viewer to traverse a lake and then surpass a steep mountain range before finally encountering the traveler who, supported by a stick, is arriving at a mountain villa nested among protective autumnal trees. Chen Guan thus shows us the difficulties that the pursuit of reclusion involves. Not only are we witness to the physical hardships involved when trying to reach a reclusive place. Metaphorically, the crossing of a lake and mountains also alert to difficulties encountered when having to separate oneself from the mundane world of daily affairs. Chen Guan's Pursuing Reclusion in Autumn thus plays on the age-old trope of reclusion in Chinese culture that understands the mountain hermit as somebody who stays true to him- or herself and who pursues his or her own moral compass despite the pressures that, for example, a life at court could engender.
Chen Guan's Pursuing Reclusion in Autumn is painted in light colors and ink on paper. The artist captures beautifully different moods that can be connected to different states of being involved while journeying into reclusion. The opening of the scroll, on the right, starts with a lakeside that is deeply enveloped in thick mists arising from the water's surface. Only occasionally can we see emerging reeds, bamboo, and autumnal trees that appear to line the water body's shore. Amidst these waters, we also see three boats of fishermen, a symbol for the recluse. The obscured vision and restricting atmosphere change abruptly once we leave the lakeside and traverse the mountain: darker ink tones, a nearly menacing and powerful waterfall as well as tall trees amid a rugged landscape make the journey more difficult and, occasionally, more dangerous. Fortunately, a bridge allows potential travelers to reach a mountain path that clings precipitously to a mountain. After passing the mountain, we enter the third and last part of the handscroll: protected by a mountain and autumnal trees, the scene of arrival at the mountain villa is one of tranquility and soothing seclusion.
This handscroll of 265 cm length and 27 cm height is rare among the surviving work of Chen Guan whose oeuvre otherwise nearly exclusively consists of hanging scrolls and fans in quite disparate styles. It is evidence that the classical style of the famous early Ming painter Shen Zhou (1427–1509) was still popular towards the end of the Ming dynasty among artists from Suzhou: Chen Guan's use of a distinctively pale color palette, the painting of elevated terraces and the texturing of the mountains all loosely recall the style of the Wu School of his more famous predecessor. At the same time, Chen Guan's painting shows how other regional styles were in constant exchange during the late Ming: Chen Guan's distinctly painted waterfall at the center of the composition is echoed in (or an echo of?) paintings by Shen Shichong (fl. ca. 1607–after 1640), a painter from Huating (today's Shanghai).
陳祼（1563~約1639）所畫的《深秋隱趣圖》是一幅美麗而壯觀的手卷，表現了文人嚮往隱居的一種過渡心情。在畫卷的左端是一座簡陋的山房。通過手卷從右到左閱讀的動線，畫家讓觀眾穿越一個湖泊，然後越過一個陡峭的山脈，最後與旅行者相遇。他在拄著一根笻杖，到達了一個坐落在秋林中的山房。陳祼向我們提示了追求隱居的困難。我們不僅見證了試圖到達隱居地時的身體困難。從隱喻的角度看，穿越湖泊和山脈也提醒我們將自己與俗世分開時遇到的困難。因此，《深秋隱趣圖》發揮了中國文化中古老的隱居特質，將山中隱士理解為忠於自己的士人，儘管宮廷生活可能帶來壓力，依然追求自己的道德標準。
《深秋隱趣圖》用淺色和水墨在紙上作畫。藝術家捕捉到了不同情緒，將進入隱居狀態時的不同狀態聯繫在一起。畫卷的開頭，是一個深深籠罩在水面濃霧中的湖畔。我們只能偶爾看到出現在水體岸邊的蘆葦、竹子和秋天的樹木。在這些水域中，我們還看到三艘漁民的船，這是隱者的象徵。一旦我們離開湖邊，穿越山峰，模糊的視線和隱密的氣氛會突然改變：更深的水墨色調，近乎洶湧澎湃的瀑布，以及崎嶇不平的地形中的高大樹木，使旅程更加艱難，偶爾也更加危險。幸運的是，一座橋使旅行者能夠到達一條山路，這條山路險峻地緊貼著一座山。通過山之後，我們進入手卷的第三部分，也是最後一部分：在山丘和秋樹的環繞下，山房是寧靜和舒緩的隱居景緻。
常見的陳祼作品是風格迥異的掛軸和扇面。這幅長265釐米、高27釐米的手卷，在現存的陳祼作品中非常罕見。《深秋隱趣圖》證明明朝中期畫家沈周（1427~1509）的古典風格，在明末的蘇州畫壇依然流行著。陳祼使用獨特的淡色調，高處的梯田和山的紋理，都讓人直覺地想起吳派前輩的風格。同時，陳祼的作品也顯示了其他地區的風格，在晚明時期是如何不斷交流融合。例如畫幅中央的瀑布，可與華亭（今日的上海）畫家沈士充（約1607年~1640年後）的畫作相呼應。
Henning von Mirbach, Research assistant, HCS Calligraphy Arts Foundation
米翰寧 何創時書法基金會 副研究員
