陈淳晚年水墨作品《花卉图册》,画面清新淡雅,构图饱满,笔墨挥洒自如。画家虽然以写生为尚,但不求形似,不事设色,而追求水墨游戏,其晚年作品总体给人的感觉是摆脱了形似的束缚,乘兴挥毫,笔致流畅潇洒,尽情地表现出笔墨自身的意韵。他的作品在中国花鸟画史上具有开创性的贡献,他综合前人各种写意笔法之后,为大写意开辟了道路。 Chen Chun in his later years ink works “Flower Atlas”, the picture fresh and elegant, composition full, ink sway freely. Although the painter is still sketch, but does not seek the shape, does not color, and the pursuit of ink games, his later years work gives the impression that the overall impression is to get rid of the shackles of shape, exultant, pen elegant and smooth, enjoy the pen and ink The meaning of rhyme. His works have made pioneering contributions in the history of bird and flower painting in China. After synthesizing all his predecessors’ various freehand brushwork, his works opened the way for the freehand brushwork.