Description: 款識:卅五年早春,逖生先生法正。陳樹人大師蒼蘆小翠圖介 鈐印:樹人六十後之作(朱文)、豪年(白文) With one seal of the artist 註: (一)上款人「逖生先生」即為浦薛鳳先生,原名瑞堂, 號逖生,歷任國立政治大學教務長,台灣省政府秘書長。 (二)歐豪年先生親自題簽。 陳樹人(1883-1948年) 本名韶,號得安老人、拈花微笑子,廣東番禺人,早期隨孫中山先生從事革命工作,參與成立同盟會,也是孫中山先生的知己與文膽。17歲時隨居廉先生學畫,後進入京都美術學院攻讀繪畫,早年的作品顯露居氏畫法及日本繪畫風格影響,中年過後,作品趨於成熟,已有獨特個人風貌,此後鮮少模仿古人的作品。陳樹人與高奇峰、高劍父兄弟被稱為「嶺南三傑」,為當時新藝術的領導人物,因為年參與過革命事業,他們也認為繪畫也要革新,奠定日後嶺南畫派在中國藝壇的重要地位。 陳氏與高氏兄弟的畫畫風格較為不同,樹人先生的畫就顯得「淡雅清奇」,他作畫不強調筆墨豪邁的揮灑,勇於脫離傳統的束縛,以新的造型和構圖作畫,跳脫傳統的構圖方式,常在花鳥作品中,大膽將畫面進行「幾何形式」或「黃金分割」法,寫繪花卉最喜愛用顏色直接描寫物象型態,不靠墨線勾勒,以脫離傳統沒骨法之拘謹,在當時是一種富於創新的藝術表現。 陳氏最擅長還是花鳥畫,在他的作品中,如楊柳、翠竹、木棉、水仙、蘆葦等題材,可常見到構圖大多採用黃金分割法,以一種植物的主幹將畫面按「黃金分割」點劃分為兩部分。在此基礎上,點綴樹葉、竹枝、花卉,再隨類賦彩,或輔之以小雀。這張《蒼蘆小翠圖》便是使用這種風格寫出,畫面先大膽地寫出蒼潤的蘆葦,蘆葦的枝葉集中於右側而下,到畫面中間部分穿到左下,點綴一隻翠鳥停於其中,這就是陳氏對於畫面的經營處理的方法。 《蒼蘆小翠圖》為陳樹人先生於民國35年(1946年)春天所作。畫中上款人逖生先生(浦薛鳳)曾擔任台灣省政府秘書長,與陳樹人同為僑協發起委員,胡適先生曾延攬擔任科學會執行祕書一職。 Chen Shuren, born in Guangdong province, followed Sun Yat-Sen in his revolution campaign and was Sun’s confidant and secretary. Chen practised painting with Ju Lian since age 17 and furthered his study of art in Kyoto School of Art. Both styles were shown in his earlier works. Later in his artistic career, his unique style was shown in his paintings. Chen was called Three Greatest Masters in Lingnan along with Gao Qifeng and Gao Jianfu, and the three became leaders of the art reform. Having participated in political revolution, they believed art should be reformed as well, initiating the rise of Lingnan School of Art. Chen and Gao Brothers shared different painting styles. Chen’s works were light coloured, austere in style and different from traditional ink paintings. Structure of his works were well planned and different from classical paintings. Using geometric forms and structuring, he painted floral forms predominantly with colour rather than outline. This was revolutionary at that period. Chen excelled in flowers and birds paintings. From his works, willows, bamboo, cotton trees, daffodils and reeds were often used as tools in his “Golden structure” by dividing the painting into two parts. Under such structure, leaves, stems, flowers will be added to enhance the richness of the subject, birds would then be added as flourishings. In this work, bold layering of reed was put at the center, spanning towards the lower right. A kingfisher rests on a branch as flourishing. This is a typical way of depiction in Chen’s work. This work was painted by Chen Shuren in the spring of 1946. Mr Disheng mentioned was Mr Pu Xiefeng, the Secretary of the Taiwanese government. Mr Pu was part of the Overseas Chinese Association where Mr Hu Shi once took up the role of Secretary of the Science Section.