石渠寶笈續編(御書房),第四冊,頁2058&*故宮書畫錄(卷八),第四冊,頁161&*1.邱士華,〈傳元黃公望野彴吟節〉,收入何傳馨主編,《山水合璧:黃公望與富春山居圖特展》(臺北:國立故宮博物院,2011年五月初版一刷),頁362。&*此作前景畫坡石雜樹,右側樹木枝幹尤為高挺,中景為平闊河面,遠景則有一峰矗立,略呈梯形,峭壁上佈置平台、礬頭,山腳樹林襯托高聳山勢。此作筆法較為粗簡,並習慣以側筆點苔,規整列於山石分界處,略顯板滯。其構圖、母題,與本院藏文徵明〈雨餘春樹〉相近,似簡化該作而成。文派主要祖述元代王蒙(1308-1385)風格,此作亦與黃公望關係較遠,應為明末仿作。(20110609)&*The foreground of this painting depicts some trees on the slopes, with the trunks of those to the right being tall and straight. The middleground is an expansive river, and a peak rising in the distance is slightly trapezoidal in shape. The cliff face features a flat outcropping and alum heads, the foothills obscured by tall trees in front. The brushwork in this work is more simplified and coarse, frequently making use of slanted-brush moss dots. The regulated partings of the rocks are also slightly stiff. The composition and motifs of this painting are actually more patterned after Wen Zhengming’s (1470-1559) “Spring Trees After Rain” in the National Palace Museum collection, but even further simplified. Wen mainly followed the style of the Yuan artist Wang Meng (1308-1385). Since this work is relatively distant from Huang Gongwang in terms of style, it is probably a late Ming imitation instead.(20110609)