石渠寶笈三編(延春閣),第五冊,頁2304&*故宮書畫錄(卷八),第四冊,頁111&*故宮書畫圖錄,第十二冊,頁121-122&*董邦達(一六九九-一七六九),浙江富陽人。工畫山水,宗法元人筆墨。明末顧從義藏有顧愷之女史箴圖、李公麟瀟湘臥遊、蜀江圖、九歌圖,董其昌因其乃流傳有序名蹟,為題「四美具」於其室。四卷後來失散,乾隆十一年陸續轉入內府。畫上梁詩正、汪由敦、張若靄跋文,提及乾隆十年曾以快雪、中秋、伯遠帖於三希堂貯之,而四美「實與三希互相輝映」。此圖為董氏〈畫四美具合幅〉二軸之右幅。(20100714)&* Dong Bangda, native to Fuyang in Zhejiang, was good at landscapes and followed the Yuan masters. At the end of the Ming, the collector Gu Congyi had Gu Kaizhi’s Admonitions of the Court Instructress and Li Gonglin’s Dream Journey over the Xiao and Xiang, The Shu River, and The Nine Songs. The great connoisseur, Dong Qichang, recognizing these masterpieces, named Gu’s studio “The Four Beauties Complete.” The 4 were lost at the fall of the Ming but made their way into the Qing imperial collection starting in 1746. Colophons by Qing court officials (Liang Shizheng, Wang Youdun, and Zhang Ruoai) mention the Four Beauties shining just as brilliantly as the three calligraphic treasures at the Three Rarities Hall. This is the right scroll of the two by Dong.(20100714)&*1.馮明珠,〈董邦達四美具合幅〉,收入馮明珠主編,《乾隆皇帝的文化事業》(臺北:國立故宮博物院,2002年初版一刷),頁89。