石渠寶笈初編(養心殿),上冊,頁647 &*故宮書畫錄(卷五),第三冊,頁223 &*故宮書畫圖錄,第四冊,頁317-318 &*1.蔣復璁,〈倪瓚筠石古槎圖〉,收入國立故宮博物院編,《元四大家》(臺北:國立故宮博物院,1975年初版,1976年二版,1984年三版),頁60。 &*倪瓚(西元一三0一—一三七四年),江蘇無錫人。字元鎮,號雲林、迂翁。家富饒,築清閟閣,蓄古書畫。善山水,為元四大家之一。 枯樹一株,寥寥數筆,下筆含蓄而有力。坡石皆用淡墨,而以焦墨寫竹,極雅淡且極蕭散。款下有雲林子一印,舊說雲林畫中惟有荊蠻民一印,亦未可執一而論。&*One of the Four Great Masters of the Yüan, Ni Tsan is also known by his style name Yüan-chen and his sobriquets Yün-lin and Yü-weng. His family's wealth allowed him to collect many ancient masterpieces which he kept at a special pavilion built for this purpose. In this painting several carefree strokes execute a forest of withered trees. The brush is restrained yet confident. Pale ink silhouettes the rocks, while charcoal black sketches in the bamboo. Thus is the composition blandly yet elegantly. Below Ni Tsan's signature is his seal "Yün-lin-tzu." The statement by earlier critics that Ni used only the seal "Ching-man-min" on his paintings is therefore not an inviolable one.