故宮書畫錄(卷六),第四冊,頁217&*石渠寶笈三編(圓明園清暉閣),第八冊,頁3650&*1.何傳馨,〈高克明松岫漁村〉,收入國立故宮博物院編,《宋代書畫冊頁名品特展》(臺北:國立故宮博物院,1995年初版一刷),頁261。 2.何傳馨,〈松岫漁村〉,收入何傳馨主編,《文藝紹興:南宋藝術與文化•書畫卷》(臺北:國立故宮博物院,2010年十月初版一刷),頁359-360。&*畫中段坡岸上畫有村舍,藉木橋接連右側坡石,橋下溪水湍流彷彿有聲。橋上一人行向山村,有童子一人隨行於後。坡岸上有屋舍、叢樹,遠處峰頂亦有林木;遠山以淡墨鉤染,若有蒸嵐迷霧,一派江南晚春日暮景象。 本作構圖是典型邊角式,實景只佔全幅之半,從遠山樹梢到坡岸,正好成一斜線。雖為小幅作品,卻有遼闊深遠之勢。畫中用筆沉穩,構圖、母題一再顯示與畫院馬夏風格相關。(20101015)&* In the middle of this painting is a sloping bank with a village. A wooden bridge connects it with the rocks on the right as waters almost audible surge underneath. On the bridge is a person walking towards the village with a child following him. On the slope are buildings and clusters of trees that also top the peaks in the background. The distant mountains were outlined and washed with light ink to give the effect of hazy mist, suggesting a late spring scene at dusk in the Jiangnan region. This work is a typical one-corner composition, with the solid part of the landscape taking up half the surface. An imaginary line drawn from the distant mountains and trees to the slope makes for the diagonal. Although a small painting, it nonetheless has the force of a vast and deep landscape. The brushwork used here is steady, and the composition and motifs all are related to the Ma Yuan and Xia Gui style of the Southern Song Painting Academy.(20101015)