石渠寶笈初編(養心殿),上冊,頁657&*故宮書畫錄(卷五),第三冊,頁430&*故宮書畫圖錄,第八冊,頁165-166&*1.林莉娜,〈明宋旭雲巒秋瀑圖〉,收入林莉娜編,《秋景山水畫特展圖錄》(臺北:國立故宮博物院,1989年十月初版),頁77。 &* 宋旭,(西元一五二三至一六○二)嘉興人,字初暘,號石門。後為僧,法名祖玄。善山水,兼長人物。萬曆間,名重海內。曾繪白雀寺壁,時稱妙絕。此幀成於萬曆癸末,為石門五十九歲作。畫兩峰並峙,一水中分,瀑流迤邐而下。高峰之間,與瀑流之上,有寺宇水閣。其下則高泉遽落,亂石小徑在長松間。兩翁觀泉,指顧而談。皴筆皆用濕墨小牛毛,而以渴苔提破,有疏朗之致。&*Sung Hsü was a native of Chia-hsing (Chekiang province), his style name was Ch’u-yang and his sobriquet Shih-men. In his later years he became a Buddhist monk and adopted the name Tsu-hüan. As a painter he was good at landscape and also figure subjects. In the Wan-li period (1573-1620) he achieved nation wide fame and his wall paintings in the Pai-ch’iieh monastery were considered exceptionally marvellous. This work was done in 1583, when the artist was in his 59th year. It depicts mountain ridges rising up into two peaks which seem to bow to one another across the torrent separating them.Through the gorge water cascades down a twisting bed. Between the mountain slopes and over the water sit temple buildings and pavilions. Below, the waters fall suddenly from their high mountain source to where a narrow path winds among tumbled boulders and tall pines. Two old men rest there, watching back to the waterfall and chatting. The painter has used his brush, well loaded with ink, predominently in the technique called “small ox-hair” texture stroke.