陳洪授（1598或1599-1652）出身浙東世家，雖因科考不順，未能任官，但與當代文士多有往來，為晚明江南士人文化成員之一。明亡 後，陳洪授因生計問題成為職業畫家，留有許多人物畫。這些晚明人物畫作與明亡前的早期作品不同，女人、物品與文士常同時出現於庭園或 畫齋中，並企圖呈現文士與女人、物品的互動，包括視覺、觸覺與嗅覺等感官的描寫。這些特色在中國人物畫傳統中實屬首見，為人物畫發展 中重要的現象，也與晚明社會文化息息相關。 本文遂以此批畫作為中心，一則探究這些作品與晚明關於女人、物品論述的關係，例如《悅容編》、《長物志》、《遵生八牋》、 《瓶花譜》等，就結構與內容上，見出陳洪授晚期人物畫與晚明文士流行論述之關涉。其二是討論這些作品如何追憶晚明士人生活，成為陳洪 授與清初江南文士對逝去歲月的共同回憶。在此生活中，女人與物品佔有極大位置，文士與其互動頻繁，充滿物質性與感官性。簡言之，陳洪 授的作品呈現此一以女人與物質為基礎的感官文化，實為晚明之重要表徵。 前此關於陳洪授的研究中，並未注意其晚期畫中女人、物品與文士生活的描述，更未將其作品置於晚明江南士人文化與社會脈絡中 討論。本文就陳洪授的研究而言，實開一新的取徑。再就晚明文化而言，物質性與感官性的提出，也是前人少及之處。 人少及之處。

　　　　　Ch'en Hung-shou (1598 or 1599-1652), despite failing the civil service examination, obtained the status of the literati class and befriended famous writers, scholars, and officials of his time because of his background and education. After the downfall of the Ming dynasty in 1644, Ch'en refused to serve the new regime and earned his living by selling painting in cities close to his native place, Chu-chi of Chekiang. During his professional career from 1645 to 1652, Ch'en continued developing his expertise in figure painting, but with a new style in which women and objects feature prominently in both garden and studio settings as part of literati life. These late paintings of Ch'en Hung-shou highlight the texture, colors, and craftsmanship of the bronze, porcelain, or lacquer objects he wishes to depict through rich coloration and careful delineation. What is even more unusual and distinctive about these paintings is the depiction of the interaction between the literati figure, the women and the objects surrounding him, including the use of gesturing such as gazing, touching and smelling, all related to sensibility. This study attempts to investigate the above-mentioned stylistic characteristics in Ch'en Hung-shou's late figure painting in the context of late-Ming discourse on women, objects and that of the related culture of sensibility. First of all, it draws an analogy between Ch'en's paintings and the contemporary writings on women and objects that emerged as a fashion in late-Ming print culture, such as The Eight Treaties on Life (Tsun-sheng pa-chien) by Kao Lien and On Appreciating Women (Yueh-iung-pien) by Wei Yung. The similarities include specific views of women and objects, and the acitve role of women and objects in the daily life of late-Ming literati who were in search of refined senses and tastes. For example, talented women who could read and write were considered both pleasing to the eye and heart as they were able to share more in common with their literati masters. In addition, the late-Ming collectors held that the aesthetic value of bronze lay in its beautiful colors, changed with the passing of time, and not in its inscriptions and shapes, both of which refer to its function in ancient rituals. As such, colors on bronze became the discursive site both in visual and textual materials, in which daily rubbing and gazing were the most important ways to appreciate such an object. Secondly, notwithstanding his status as a professional painter, Ch'en Hung-shou sold his works through networking with his old friends and received financial support from patrons of a kindred spirit. Moreover, he became very famous in his last days and was highly recognized by the literati or scholar-officials such as Chow Liang-kung (1612-72) and Mao Ch'i-ling (1623-1716). This means that Ch'en Hung-shou had power over deciding what to paint and to whom he would sell his works, unlike common professionals such as Ch'iu Ying. Thus, this research is intended to propose that Ch'en's late figure paintings represented the collective memory of the literati who faced the transitional chaos of the early years of the Qing dynasty (1644-1911). Through Ch'en's representations of a typical late-Ming literati life in the area of Kiang-nan, they remembered the days passed in late Ming, of which their interaction with women and objects and the culture of sensibility formed such an essential part. nsibility formed such an essential part.