石渠寶笈續編﹝養心殿﹞,第四冊,頁1057&*故宮書畫錄﹝卷五﹞,第三冊,頁397-398&*故宮書畫圖錄,第八冊,頁85-86&* 這件作品亦作於嘉靖庚午年(1570),屬於文伯仁晚期的作品。前景臨流高士望著溪石上的一對立鶴,似乎要與友人一同行向山間。畫面最上方幾可觸及雲海之處,除了寺觀之外,還有數間茅屋,屋外兩人立於柴橋上俯視溪流,或許正期待著山下的友人到來。此處山色淺澹如玉,坡崖及太湖石上攀附著鮮碧小草與苔點,澗水平緩潺湲,煙雲如湧。文伯仁將此處描繪得有若仙境,像是對家鄉林泉的謳歌與禮讚。(20100713)&* This work, from 1570, belongs to Wen Boren’s late period. In the foreground is a lofty scholar by a stream looking out at a pair of cranes on stream waters and rocks, as if wanting to go with his friend to the mountains. In the uppermost part of the painting are several places emerging from a sea of clouds. In addition to the temple building are several thatched cottages, outside of which stand two figures on a wooden bridge gazing at a flowing stream, perhaps at that moment expecting a friend to come up to the mountains. The colors of the mountains here are like jade, and brightly colored small plants and moss dots cling to the sloping cliff and Lake Tai rock motifs, the waters flowing slowly yet surely as clouds and mists gush forth. Wen Boren has depicted this scene like a realm of immortals, as if singing the praise and admiration of forests and streams in his homeland.(20100713)&*これも嘉靖庚午年(1570)の作で、文伯仁晩期の作品である。前景に川のほとりに佇む高士がおり、岩石の上に立つ二羽の鶴を眺めている。友人と共に山に分け入ろうとしているようである。画面最上部の雲海に触れるほどの高みに寺院と家屋が数軒あり、屋外の人物二人は木橋に立ち、渓流を見下ろしている。山を登って来る友人を待っているのかもしれない。この部分の山色は玉の如く淡く、崖と太湖石には鮮やかな緑色の草と苔点が描かれ、せせらぎは緩やかに流れゆき、雲煙が湧き上がっている。この部分のまるで仙境の如き描写は、故郷林泉への謳歌と礼賛のようである。(20100713)