| 【類別】 | 【參考資料】 |
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收藏著錄
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秘殿珠林續編（乾清宮），頁371
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收藏著錄
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故宮書畫錄（卷五），第三冊，頁477
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收藏著錄
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故宮書畫圖錄，第九冊，頁83-84
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參考書目
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1.〈明陳洪綬三星圖〉，收入國立故宮博物院編，《晚明變形主義畫家作品展》（臺北：國立故宮博物院，1977年九月初版），頁438。
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內容簡介（中文）
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陳洪綬（西元一五九八－一六五二年），浙江諸暨人。字章侯，早年自號蓮沙彌，後號老蓮。明亡後，又號悔遲、勿遲。自小即富繪畫天才，四歲曾於白壁畫關公像，善山水，尤工人物。與崔子忠齊名，號南陳北崔。
福祿壽三星，二人拄杖，有持梅枝者，亦有執靈芝者。傅色清雅，線條清細圓勁，當為高古游絲描一系。陳洪綬屬變形主義，畫人物喜用誇張手法，作物體的變形。比例上往往不按規矩，或奇或怪，或加以扭曲，卻別有諧趣。
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內容簡介（英文）
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The Gods Happiness, Prosperity, and Longevity
Ch’en Hung-shou (1598-1652)
Ming Dynasty
Ch’en Hung-shou was a native of Chu-chi, Chekiang. Ch’en was an excellent painter of landscapes, but he is especially known for his figure painting. Together with his contemporary Ts’ui Tzu-chung (1600-1652), they are referred to as “Ch’en of the south and Ts’ui of the north.”
In this portrait of the symbolic gods Happiness, Prosperity and Longevity, two are shown with staffs, one holds a sprig of plum, and another grasps the ling-chih immortal fungus. Colors are applied with clarity and elegance. Lines are painted delicately but with a quality of tensile strength. The brushstrokes belong to the lineage of the “gossamer stroke”, derived from the painting of high antiquity. Ch’en Hung-shou belongs to the school of the transformed style. His figures are painted with exaggerated features, transforming their physical aspects. Proportions are not established according to the rules. Some of the figures are strangely painted, with twists and turns, imparting an element of humour to Ch’en’s art.
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