石渠寶笈初編(御書房),下冊,頁1141&*故宮書畫錄(卷五),第三冊,頁285&*故宮書畫圖錄,第六冊,頁39-40&*王紱(西元一三六二至一四一六年),無錫人,字孟端,後以字行,號友石,又號九龍山人,青城山人。永樂間,以墨竹名天下,兼善山水。 古木竹石,為山水家酬應之作,明以後常有此題。本幅用筆極為老辣,古木一枝,筆法已開沈周法門。竹秀而渾,石樸而妍,雖著筆無多,而自挺然傑出。 &*Wang Fu was a native of Wu-hsi, Kiangsu. His tzu (style name) was Meng-tuan; his hao (sobriquets) were Yu-shih, Chiu-lung-shan-jen, and Ch'ing-ch'eng-shan-jen. During the Yung -lo period (1403-1424) Wang Fu was famed for his paintings of ink bamboo. He also excelled in painting landscapes. A painting combining an old tree with a rock or two and bamboos was a favorite gift presented by a landscape painter on social occasions. After the Ming Dynasty (1368-1644), this practice became quite prevalent. Wang Fu's brushwork in this painting is highly skilled. The brush technique used to depict this ancient tree was inspiration for Shen Chou's (1427-1509) unique style. The bamboos are elegantly executed and the weathered rock is fantastically shaped. Wang Fu painted with economy of brushwork, yet created a tranquility beyond this clamorous mundane world.