石渠寶笈續編(乾清宮),第二冊,頁591&*故宮書畫錄(卷五),第三冊,頁519&*故宮書畫圖錄,第十冊,頁169-170&*1.〈清王翬水村春曉〉,收入國立故宮博物院編輯委員會編,《春景山水畫特展圖錄》(臺北:國立故宮博物院,1987年一月初版),頁57-58。 &*王翬(一六三二-一七一七),江蘇常熟人,字石谷,別號耕煙散人、烏目山人、劍門樵客、清暉主人。自幼善畫,青年時得拜王鑑、王時敏為師,二人盡傳所學外,又常偕帶他參觀各地收藏,藉此揣摩古人畫技,因此他能筆參古今,貌合南北,畫技精熟為清代之冠。 本幅畫臨水的小庭園,池邊簡易的闌干,通往靜的草堂,平坡上一座茅房,修篁搖映在旁,柳樹繞著外圍,全幅墨韻極佳,畫面一片濕潤,用以表現春日翠色,極為恰當。 &*At the water’s edge lies a small garden; a simple fence railing skirts the pond, leading back to tranquil thatched houses beyond. In the clearing is a grass-roofed pavilion, bordered on the right by tall bamboo. The garden is surrounded by willow trees. The rhythm of the brushwork throughout is particularly fine: the painting is imbued with an air of moistness expressive of the jade-green coloring of spring. Wang Hui, one of the foremost artists of the Ch’ing dynasty, was a gifted painter from childhood. In his youth he studied with Wang Chien and Wang Shih-min, who took him along to see many important collections. Wang Hui was thus able to absorb both ancient and contemporary techniques and combine the styles of the Northern and Southern schools of painting.