故宮書畫錄(卷五),第三冊,頁200 &*故宮書畫圖錄,第四冊,頁173-174&*1.〈元吳鎮清江春曉〉,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49。 2.蔣復璁,〈吳鎮清江春曉〉,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41。 3.李霖燦,〈山水畫中點景人物的斷代研究〉,《故宮季刊》,第十三卷第二期(1978年冬),頁25-40。 &*吳鎮字仲圭,號梅花道人、梅沙彌,浙江嘉興人。生於至元十七年(西元一二八○),死於至正十四年(西元一三五四)。與黃公望、倪瓚、王蒙合稱元四大家。 梅花道人山水學自巨然,受巨然影響很大。本幅以長披麻的筆法皴畫山石,筆力圓勁。漬染多用淡墨,清淡雅逸。畫樹木、屋宇、人物用筆粗壯,筆鋒微禿,雖每一筆並不緊密連接,但意趣已足,也許是畫法中的「意到筆不到」,並且全幅具有豪邁的氣勢。&*"Hemp fiber" textured strokes define the mountains' rocks in strong and vigorous brushwork. The halcyon washes are done primarily in pale ink, lending an elegant luminous, light quality to the work. Wu has used a slightly stubbly coarse brush to depict the trees, buildings, and figures. Even though the brush strokes do not overlap, the results are quite satisfying. Perhaps this is a painting style in which "one can see more than is actually depicted." The painting possesses a commanding presence. Wu Chen (whose style name was Chung-kuei and sobriquets, Mei-hua-tao-jen and Mei-sha-mi) was from Chia-hsing in Chekiang. He was one of the "Four Great Masters" of the Yüan dynasty, along with Huang Kung-wang, Ni Tsan, and Wang Meng. In his landscapes Wu was much influenced by the Sung painter Chü-jan.