自古文人雅士即好為其齋室命名。而書畫家一生中往往齋號不止其一，隨著遷徙，而環境改變；或隨著心情，而好惡不同，都可能造成齋號名稱的變化。齋號在書畫作品中，可以以落款呈現，或以印章方式鈐於作品中。陳鴻壽歷經官職的遷異，而在”齋號”及”官銜”上都有變化。所以，本文試圖將曼生一生的行跡，配以齋號及印文做一關係的對應，推估出齋號及印文使用的合理期間。 齋號的使用始於魏晉。明代彭大翼撰的《山堂肆考》曾提及”盤龍齋”一名。1 至於以齋號入印者，潘天壽在《治印談叢》：「以齋堂館閣之名稱入印者，曰齋堂館閣印。以唐李泌『端居室』三字玉印為最古。……」2 明清之降，文人為書房取名風氣益盛，多見於印鑑。而曼生的齋號除了刻於印鑑上，在部分書畫印的款識上亦會出現。本文對齋號考證，以有紀年書、畫、印作品或文獻作為定年依據；印文考證亦如此，且更能以此為據，進而斷其他無年款之書畫作。

Since ancient times, Chinese literati have had a habit of naming their studies. It was also common for painters and calligraphers to have many studio pseudonyms throughout their career. An artist might change their pseudonym to reflect a change in environment or mood. These pseudonyms were often inscribed or sealed on paintings or calligraphic works. Hong-Shou Chen relocated many times due to changes in his official position, which influenced his pseudonyms and titles. This paper analyzes pseudonyms and seals to determine particular stages they were used during the artist’s life.The use of studio names as an artist’s pseudonym began during the Wei and Jin Dynasties. The Shan Tang Si Kao, compiled by Ming period scholar Dayi Peng, once mentioned the name, “Pan Long Zhai (Dragon Room)”, while Tianshou Pan’s Zhi Yin Tan Cong included the statement: “The engraving of Li-Mi Tang’s three character name, Duan Ju Shi (Side Room), onto a jade seal marked the first time an artist’s studio was used as a pseudonym...” At the dawn of the Ming and Qing Dynasties, it became a trend for scholars to use studio names as their pseudonyms. Most of the time, these pseudonyms would be sealed onto the artist’s works. Furthermore, these pseudonyms would often be sealed alongside portions of calligraphic scriptures.This paper uses research on pseudonyms and dated calligraphic works,paintings, seals, and literature as the basis for determining the time at which other undated works were created.