《梅花图》轴，清，高翔绘，纸本，设色，纵88.8厘米，横44.7厘米。
款识：“禅智寺探梅用东坡壁间韵并录请默夫老先生一笑。初地客秋到，高柯辞寒蝉。东风变气候，古梅□寒烟。芬条拂檐瓦，□色□□显。冈垄（拂）抱佛阁，春山一磬悬。流观苏髯跻，心怀林逋仙。忘形结朋好，翘首企先贤。餐饭分僧钵，煮字剪飞泉。林木敛昏霭，初月升婵娟。援背驾云鹤，衫袖风飘翩。野店呼香醥，狂醉何修然。西唐学弟高翔。”钤“大雅久不作”白文印。
再题：“横撑铁干出檐斜，春入江城事可嗟。才有梅花便风雨，西风偏为妒梅花。晓烟夜月独迟迟，竹外篱边惜片时。才有梅花便风雨，闲辜吟兴赋诗思。断桥古寺又经年，隔岁相思梦寐牵。才有梅花便风雨，教人惆怅恼春天。孤根瘦影讬山林，暗里香光不可寻。总有梅花便风雨，一枝仍守岁寒心。柳窗先生以余札中语叶韵，足成四绝，和作并请一笑，默夫大兄老友。弟翔再顿首。”钤“西唐之印”、“凤符”。
此图是高翔与朋友们去扬州禅智寺探梅后为默夫所作。高翔所画梅花皆疏枝瘦朵，别具气韵，有露冷风清之致，与汪士慎所绘的繁枝梅花相比可谓各领风骚。此图布局独特，画面中间一枝红梅挺拔而起，题诗分占两侧，舒展多姿的梅枝将画面平衡巧妙地分割。梅干形态萧疏，风骨嶙峋，淡淡的梅花清幽秀雅。金农曾生动形象地评价高翔之梅花道：“半开亸朵，用玉楼人口脂抹一点红。”此图可见一斑。在画法上，高翔受弘仁的影响，用笔简洁，惜墨如金。此外，他还注意以书法入画，其带有隶书笔意的行书具有瘦、硬、劲的特色，与梅花的简、瘦、秀格调统一，相得益彰。
--------Introduction in English--------
"Plum Blossom Picture" axis, Qing Dynasty, Gaoxiang Painting, paper, color, 88.8 cm vertical, 44.7 cm horizontal.
Qian Zhi: "The Temple of Zen Zhi uses the rhyme between the walls of the east slope and invites Mr. Mofu to laugh. In the early autumn, the visitors arrived and Gao Kecicada died. Eastern wind changes climate, ancient plum_cold smoke. Fine strips brush the eaves and tiles, and the color is obvious. Gangling (Fu) embraces Buddha Pavilion, and Spring Mountain hangs in the air. Liuguansu beard ranks, with Lin Zhixian in mind. Forget form and make friends with others, and look forward to the sages of enterprises. Dinner is divided into monk bowls, boiled words and cut feiquan. The trees are dim, and the first moon is shining. With the help of the cloud crane, the sleeves are fluttering with the wind. Wild store Hu Xiang chuan, mad drunk He Xiu Ran. Gao Xiang, a disciple of the Western Tang Dynasty. Jun's "Great Elegance Has Not Been Made for a Long Time" white print.
Another question: "When the cross-brace iron dries out of the eaves, the spring enters Jiangcheng. Only the plum blossom will be stormy, the westerly wind is jealous plum blossom. Dawn smoke night and moon alone late, bamboo fence edge pity time. Only the plum blossom will be stormy, idle Gu Yin Xingfu poetry. Broken Bridge Ancient Temple has gone on for many years and misses each other every other year. Only when plum blossoms are rainy and windy, can they teach people to be melancholy and annoyed in spring. Lonely roots and thin shadows are entrusted to the mountains and forests, but the fragrance is not found in the dark. There are always plum blossoms in the wind and rain, a branch is still cold. Mr. Liuqiao, with Yu Za's Chinese rhyme Ye Yun, has made four outstanding achievements, and please laugh, Brother Moff. Di Xiang paused again. Jun "Seal of the Western Tang Dynasty" and "Fengfu".
This picture was made by Moff after Gao Xiang and his friends went to Chanzhi Temple in Yangzhou to visit plum trees. The plum blossoms painted by Gao Xiang are all thin and sparse, with unique charm and refreshing dew. Compared with the plum blossoms painted by Wang Shishen, the plum blossoms painted by Gao Xiang are all of the leading styles. The layout of this picture is unique. A red plum tree rises in the middle of the picture. The inscription poems are divided on both sides. The plum branches stretch out and make the picture balanced and cleverly divided. Plum trunk shape is sparse, the wind is rugged, the light plum blossom is quiet and elegant. Jinnong once vividly and vividly appraised Gao Xiang's plum blossom road: "Half open, with Yulou Population Fat smear a little red." This picture shows one spot. In painting, Gao Xiang was influenced by Hongren. He used his brush concisely and cherished ink as gold. In addition, he also pays attention to the use of calligraphy in painting. His line calligraphy with the meaning of Li Shu has the characteristics of thin, hard and vigorous. It is unified with the simplicity, thin and beautiful style of plum blossom, and complements each other.
