石渠寶笈初編(重華宮),下冊,頁740&*故宮書畫錄(卷六),第四冊,頁106&*故宮書畫圖錄,第二十三冊,頁270-273&*1.陳昱全,〈清惲向倣黃公望山水〉,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344。 &*惲向(1586-1655),江蘇武進人。本名道生,字本初,後改名向,又以字行,號香山翁,為清初大畫家惲壽平(1633-1690)伯父。早年曾北上京師謀官覓職,但未能如願。晚年歸隱常州,專注繪事以遣晚年。 本開筆法簡約質樸,多用乾筆,較少暈染,並確實掌握大癡慣用母題,如近景樹叢與水岸,山中平臺及屋舍,山頂苔點與礬頭等。整幅物象簡約、構圖平實,筆法、皴擦亦是點到則止,但卻有質樸純真的趣味。 (20110609)&*Yun Xiang (original name Daosheng, style name Benchu, later changed to Xiang [by which he was known], sobriquet Xiangshanweng), a native of Wujin in Jiangsu, was an uncle of the famous early Qing painter Yun Shouping (1633-1690). In his early years he once went to the capital hoping to attain official position, but his plans did not materialize. In later years he returned to live in reclusion at Changzhou, focusing on painting in his final years. The brushwork in this album leaf is simple and abbreviated. Using mostly dry brushwork and few washes, it indeed is able to grasp the motifs commonly used by Huang Gongwang, such as the trees and bank in the foreground, the flat outcroppings and houses in the mountains, and the moss dots and alum heads on the mountaintops. The objects throughout the work are concise and the composition sober, while the brushwork and texturing capture the main points, nonetheless still conveying a pure and innocent quality. (20110609)