陳洪綬仕女圖的物與物觀：以細務、戲遊為例

The Object and Its Observation in the Portrait of Court Ladies by Hong-Shou Chen: Taking Trivial Matters and Games as Examples

陳洪綬從學來斯行、劉宗州（1578~1645），追隨浙江畫師藍瑛（1585~1666）、孫杕學畫。明清易代，寄跡梵宇，避難廟寺。所作水墨、工筆畫設色典雅，為中外仕宦、時人爭相收藏。晚明文人尚清玩、閒賞、品物，運用多元文類書寫物相，藉物傳達政治、社會時風趨尚與自我乖違、矛盾的生命情調。陳洪綬以仕女圖反映創作理念、表達自我道德信念、價值觀的載體，顯露獨抒性靈風流韻事。人物形象，由線條直硬漸漸轉向清潤圓勁的筆風，表現婦女知書達禮、琴棋書畫形象、生活樣態。本文通過陳洪綬忌假尚真詩文畫論，擬以多層聯繫，探悉畫作三白技法，扣合婦女生活知識參考類書《香奩潤色》所綿延出的幽微旨趣；闡述畫作細物簪花、便面，鬪草活動，以物建構的婦女戲遊娛樂，呈現人文化生活，融攝於物所傳達的隨順因緣想法，寄託內心深層情感本真之物觀。

Hong-Shou Chen studied with Si-xing Lai and Zong-zhou Liu (1578-1645) and followed the Zhejiang painters Ying Lan (1585-1666) and Dou Sun for painting skills. During the transition of Ming and Qing dynasties, he lodged in the Buddhist halls and monasteries to indulge himself in all the landscapes freely, and he discussed his studies with Zen masters. His ink and brush paintings with elegant colors were highly sought-after collections by both Chinese and foreign officials, dignitaries, and celebrities. The literati of the late Ming dynasty were interested in exquisite and elegant objects, and have put their observations into a variety of written objects. Through these objects, they conveyed their ego, political ideals, and rebellious fashion to present their passion for life. Hong-Shou Chen uses The Portrait of Court Ladies as a vehicle to express his moral beliefs and values, revealing his personal story of alcoholism and prostitution, and his wild and unrestrained heresy in life. Hong-Shou Chen expressed the image of a woman’s knowledge and discipline, as well as her lifestyle of playing the qin and painting. In view of Hong-Shou Chen's poetry and painting theory of 'avoiding falsity and promoting authenticity' and the poetry created in his mind, this article intends to explore the subtleties of the art of painting concerning the reference book on women's lives, Fragrant Cosmetic Cases, through a multi-layered connection with The Rule of the Three White Foods. In addition, the paper also illustrates the cultural space of women's lives constructed by objects, such as hairpins with flowers, facial fans, and playfulness of tea fights. The fun conveyed by the objects has embodied the connotation of one's thoughts and deep emotions.