设色绢本? 立轴 127 × 49.5cm.?(50 × 19 ? in.) 不出春溪外，关门笔墨劳。何当石头上，安稳听松涛。莲子洪绶。 钤印：「洪绶」、「章侯」 明末画坛，陈洪绶无疑是一位独具风格的画家。其山水、花鸟、人物皆长，且尤以人物为最。其所绘人物，大多体格高大超逸，衣纹细密清楚，细条流畅有力。论及表现技法，又可见灵活多变之妙，如用粗枯之笔表现好汉壮士，用细润之笔表现文人佳丽，用游丝之笔表现高古逸士等，极大丰富了中国传统人物画的表现技法。自雍正以来，一变王树谷，再变华新罗。任熊、任颐崛起，师法老莲，风靡一时。直到现代，「灵笔出章侯」的谢稚柳、程十髪更把陈老莲发扬光大。
陈老莲的艺术不但名躁海内，还蜚声域外。很早就受到朝鲜人和日本人的珍爱。毛奇龄在<陈老莲别传>中记载，朝鲜兀良哈，日本撒马尔罕乌思藏购老莲画，重其值。有人用竹筒装陈老莲两幅画到日本，日本人重酬一口袋宝珠，可见当时陈老莲的画价值之重。
此件<听松涛>刻绘细致，赋色雅丽，有「古法渊雅，静穆浑然」的格调。画中松树挺拔而立。山石侧靠在松树旁，高士侧卧，神情恬静。高古奇骇。边听着松涛声边沉思，好不惬意。画面右侧，折枝梅、竹并插于古铜瓶之中，瓶身可见纹饰。瓶内梅花枯干中裂，配以双钩竹叶一丛。画中题写五言诗一首，这是在陈洪绶画作中比较少见的。整幅画面景物与人物浑然一体，高士闲情雅趣，整幅画作恬静安逸。作品不仅体现了晚明文人生活之写照，也寄托着老莲遗世独立的人生追求。
Chen Hongshou (1598 -1652), formerly romanized as Chen Hung-shou, was a Chinese painter of the late Ming dynasty. he boasts unique style and technique in landscape, flowers and figure’s painting. The figures bone structures depicted by him are normally lofty and sturdy. The lines are averagely smooth and energetic. When it came to the techniques of expression, we can see the flexibility and its varieties as well. He utilizes drier ink bold lines to depict man and embellish ladies with a more plump color, by which enriched the expression techniques in classical Chinese figures’ paintings.
Chen hongshou is renowned for his figures paintings both in and abroad China, his paintings were cherished by Japanese and Korean collectors in a pretty early stage. It was narrated in “Chen hongshou’s Memoirist”that two important collectors in Japan valued Chen hongshou’s painting very much and exchanged his painting with a pocket of pearls with the merchandisers, these paintings were carried by bamboo tube.
“Meditating beneath the pine tree” was delicate in lines and elegant in its color. It shows a great combination of both the traditional techniques in classical Chinese paintings and the steadiness of the figures as well. The pine tree in this painting was standing uprightly. The rock lies underneath it and the scholar was lying down and resting beside the rock. the expression on his face was tranquil. He was meditating while listening to the sound made by the breeze swaying through the pine tree. What a pleasant feeling. When looking at the right side of the painting, there was a bunch of plum blossoms and bamboo branches inside the bronze vase. The painting was also accompanied by a poem with five characters to each line, which was rarely seen in Chen’s painting. The figure and articles in this painting matched perfectly with each other and depicted a vivid living situation in later Ming Dynasty, which embodied the spiritual pursuit of Chen hongshou.
