石渠寶笈續編(御書房),第四冊,頁1972 &*故宮書畫錄(卷八),第四冊,頁664 &*故宮書畫圖錄,第四冊,頁101-102 &*1.邱士華,〈傳元黃公望層岩曲澗〉,收入何傳馨主編,《山水合璧:黃公望與富春山居圖特展》(臺北:國立故宮博物院,2011年五月初版一刷),頁357-358。&*此作似隔溪遠眺山景;前景雜木林立,對岸平台立石柱一座,其後礬頭巖塊環繞;中景山勢漸高,溪谷兩岸懸崖壁立,其上林木欣榮,數間屋舍散佈,左方溪谷盡頭竹林處,架有水榭數座;上方遠山雄峙,若有擎天之勢。 清高宗以此作與〈富春山居圖〉(子明卷)相比,認為兩作「紙色墨氣,古穆無二」。細察兩作石法、樹法,乃至題款書風近似,或出於一人之手,為明末清初的作品。 (20110609)&*This painting is a view of distant and remote mountain scenery apparently from the other bank of a river. The foreground consists of various trees with a stone column standing on an outcropping. Behind and surrounding it are rocky crags with alum-head rocks. The middleground mountain form rises slowly with cliffs on either side of the valley, the mountain forests lush with houses scattered about. At the end of the valley to the left is a bamboo grove with several water kiosks, the majestic mountain in the upper part appearing as if thrusting to the heavens. The Qing emperor Gaozong (Qianlong) compared this work to the Ziming version of “Dwelling in the Fuchun Mountains,” believing that both feature “incomparably antique ink and paper.” Close examination of the rendering of rocks and trees, along with the style of the signature, suggest that both came from the same hand around the late Ming and early Qing. (20110609)