石渠寶笈三編(御書房),第七冊,頁3120&*故宮書畫錄(卷五),第三冊,頁435&*故宮書畫圖錄,第八冊,頁271-272&* 顧正誼,華亭人,字仲芳,號亭林。萬曆時(西元一五七三-一六二0年),仕為中書舍人。善山水,宗大癡。家多名蹟,又與宋旭、孫克弘友善,窮探旨趣,遂自名家。 款云:連日撫宋元諸大家眞蹟,頗能得其神髓,思白從予指授,已自出藍,畫此質之,品評當不爽也。觀此則知董其昌嘗從學畫,足以補畫史之不足。細與董畫相較,亦多水乳交融之處,然而出藍之譽,非謙詞矣。 &* Ku Cheng-i was a native of Hua-t’ing, Kiangsu. His style name was Chung-fang, his sobriquet T’ing-lin. During the Wan –li period (1573-1619) he served as an official. He excelled at landscapes, following Huang Kung-wang as his model. His family had a large collection of old paintings, and the painters Sung Hsü and Sun K’o-hung were his good friends. The inscription on the painting reads: “For several days, I have been copying the works of famous Sung and Yüan masters and have somewhat succeeded in grasping their spirit and marrow. Ssu-pai (Tung Ch’i-ch’ang, 1555-1636), in receiving instruction from me, has already surpassed me. I paint this in order to lend substance to this statement--judgements and criticisms of it should not be too far from the mark.” Knowing that Ku Cheng-i was Tung Ch’i-ch’ang’s teacher lends new material to Chinese painting history. If we were to compare the works of the two, we would see some basic similarities and points of mutual influence. But as to Ku’s statement about Tung’s surpassing him, we would have to agree that it was not said only in modesty.