摘要
陳淳(1483-1544)是明代中期吳派畫家中的一員，早年與文徵明學習藝術文化，習得精謹的繪畫風格，但其強勁的筆法已經自成一格。 陳淳選擇以一名職業畫家的角色生存，在諸多繪畫類別中，他特別擅長花卉畫。他的花卉畫超越文徵明稍嫌拘謹的畫風，轉以快速直接強勁的筆墨取勝，也成為文徵明為主的藝術文化圈中，最先選擇以書畫藝術謀生的成員。 陳淳的選擇，在當時的吳地畫家中，並非那麼容易被認同。他本人更刻意選擇，遠離過去的社群，以宛如六朝人士的散逸作風，化解內心的不安。衡諸文徵明諸弟子中，陳淳的畫藝，可說是最具創意者，但是其所選擇面對生活困境的態度，使他終究獨立於其他同屬科場失意的吳地文人圈之外，而成為蘇州隱逸文化中的另一代表。
並列摘要
Chen Chun was a member of Wu school in the mid-Ming Dynasty. In his early years, he studied painting with Wen Zheng Ming and learned exquisite style from him, but he also developed his own powerful brushstroke. Chen Chun chose to be a professional painter. His flower painting surpassed Wen Zheng Ming's relatively reserved style and showed rapid, direct and powerful brushstrokes, which seemed to catch more liveliness of nature and therefore formed a very flesh style. Chen Chun became the first one to work as professional painter in the Wen Zheng Ming circle. Chen Chun's choice was not easily accepted by local painters. He deliberately stayed away from the art circle he used to belong and led a retired life style of the Six Dynasty to ease his inner discomfort. Chen Chun's art was the most creative among Wen Zheng Ming's pupils, but his attitude toward his predicament singled him out of the literati circle of Wu for an independent figure of the culture of retirement.