石渠寶笈續編(重華宮),第三冊,頁1730&*故宮書畫錄(卷五),第三冊,頁522&*故宮書畫圖錄,第十冊,頁171-172&*1.王耀庭,〈清王翬秋林圖〉,收入王耀庭編,《青綠山水畫特展圖錄》(臺北:國立故宮博物院,1995年七月初版一刷),頁97。 2.林莉娜,〈清王翬秋林圖〉,收入林莉娜編,《秋景山水畫特展圖錄》(臺北:國立故宮博物院,1989年十月初版),頁81。 3.〈清王翬秋林圖〉,收入國立故宮博物院編輯委員會編,《名寶上珍》(臺北:國立故宮博物院,1995年初版一刷),頁272。 &*王翬(西元一六三二-一七一七年),常熟人。字石谷,號耕煙散人,清暉主人,烏目山人,劍門樵客。山水得王時敏指授,為清四大家之一。 青綠重色,間以丹砂,色彩古艷。本幅畫樹八株,大小相間,枝榦糾纏,極縱橫錯雜之致,加以飛泉滿布於石隙,如脈落之貫通,益使畫面緊湊。筆亦精勁,無一筆少懈,蓋亦中年以後著意筆也。 &*Wang Hui was a native of Ch’ang-shu, Kiangsu province. His tzu (style name) was Shih-ku, his hao(sobriquets) Keng-yen-san-jen, Ch’ing-hui-chu-jen, Wu-mu-shan-jen and Chien-men-ch’iao-k’o. He was a protegé of Wang Shih-min, and both master and pupil are deemed two of the “Four Great Masters of the Ch’ing dynasty.” Vermilion is scattered amongst thick blues and greens. The color scheme is antiquely beautiful. The painting depicts eight trees of varying size, and their criss-crossing branches from a pattern of fascinating complexity. Rivulets run down among the stones like many veins from one artery, giving the composition an animated unity. The brushwork is fine and strong without a single careless stroke. The style is that of Wang Hui’s middle years.