故宮書畫錄(卷五),第三冊,頁200-201&*故宮書畫圖錄,第四冊,頁163-164&*1.蔣復璁,〈吳鎮洞庭漁隱〉,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42-43。 2.賴毓芝,〈洞庭漁隱圖〉,收入林柏亭主編,《國寶菁華 — 書畫•圖書文獻篇》(臺北:國立故宮博物院,2006年12月),頁207。 3.〈元吳鎮洞庭漁隱〉,收入國立故宮博物院編輯委員會編,《山水畫墨法特展圖錄》(臺北:國立故宮博物院,1987年七月初版),頁63-64。 &*吳鎮(西元一二八○—一三五四年),浙江嘉興人。善畫山水花竹,與黃公望、倪瓚、王蒙,被合稱為元代的四大畫家。 本幅是吳鎮六十二歲的作品,採用「一河兩岸」式的構圖,近景畫雙松挺立,枯樹橫斜,隔岸則是迤邐的山坡,與水邊蕩槳的漁舟,十分忠實地呈現出江南水鄉澤國的景象。雖然布局簡略,但添加邊角的簽名,以及上方的題詞之後,別具一番寧靜典雅的情調。&*Wu Chen, a native of Chekiang province, excelled at painting landscapes and flowers-and-bamboo. Along with Huang Kung-wang, Ni Tsan, and Wang Meng, he was one of the Four Yüan Masters. This work was done by Wu at the age of 61. The composition involves an expanse of water separating a near and distant shore. Two pines appear in the foreground with another tree extending diagonally below. In the distance are rolling hills and a flat landscape as a fisherman's skiff floats on the water. This work reveals the rolling watery hills of Kiangnan in east-central China. Though the composition is simple, the artist's signature in the lower left and his inscribed poetry above adds a sense of lyrical elegance typical of scholar painting