石渠寶笈續編(御書房),第四冊,頁2097&*故宮書畫錄(卷五),第三冊,頁518&*故宮書畫圖錄,第十冊,109-110&* 王翬(西元一六三二至一七一七年),字石谷,號耕煙散人、烏目山人、劍門樵客、清暉主人。少即善畫,繼得王鑑、王時敏指授,並隨之閱覽各地珍藏,藉機臨摹名蹟,因能筆參古今,貌含南北。畫技之精熟為清代第一。 奇岩危崖,壁立江上。山石的皴紋,有的如范寬之「雨點皴」,有的如「斧劈皴」,再加上枯墨的皴擦,更具有方硬厚重之意。 &* Wang Hui, tzu (style name) Shih-ku, hao(sobriquet) Keng-yen san-jen, Wu-mu shan-jen and Chien-men ch’iao-k’o, was a native of Ch’ang-shu in Kiangsu province. He was already a capable painter in his youth when he met Wang Chien and Wang Shih-min, the two foremost masters of the “orthodox” school of the early Ch’ing period, who later became his teachers. In addition to thoroughly instructing him, they also made it possible for him to view all the great collections of paintings. He took advantage of these opportunities and studied the painting skills of the ancient masters. Consequently he could visit both the past and present with his brush; was able to unite the forms of the Northern and Southern schools of paintings; and his skill became the greatest of the Ch’ing period. A rocky mountain abruptly rises over a river. Axe-cut ts’un, Fan Kuan’s rain-drop ts’un and dense ink lines model its surface successfully emphasizing the strength, massiveness and endurance of nature.