石渠寶笈續編(重華宮),第三冊,頁1569&*故宮書畫錄(卷五),第三冊,頁168&*故宮書畫圖錄,第四冊,頁11-12&*1.〈元高克恭雨山圖〉,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61。 &*高克恭(西元一二四八至一三一0年),其先回鶻人,占籍大同,後居武林,字彥敬,號房山老人,仕至刑部尚書。畫山水,學米芾父子,造詣精絕。 本幅遠山近石上,皆以米家點為之,畫樹葉亦不勾勒,率以濃淡不等之墨直接畫出,水份用得特別飽滿,加以所用紙張為不吸水性,猶覺水份流動於紙上。自題此圖完成時雲雨正來,空氣濕潤,更加倍促使本圖能表現雨之濛濛情調。&*In his landscapes, Kao K'o-kung emulated the impressionistic brushwork appied in dots and dabs characteristic of the Sung painters Mi Fu (l052-1107) and his son Mi Yu-jen (1072-1151). One can see such brushwork used here for the distant mountains and the rocks in the foreground. The leaves of the trees are not outlined but are limned in tones of light and dark ink. Watery ink has been applied to unabsorbent paper, making it appear that water floats on the paper itself. The colophon by the artist states that it had just begun to cloud over and rain as he was finishing this work, enabling him to better depict the damp, hazy weather conditions. Kao K'o-kung (whose style-name was Yen-ching and sobriquet, Old Man of Fang Mountain) was from an Uighur family of Ta-t'ung, but he later moved to Wu-lin. As an official he served as the Minister of the Board of Justice.