石渠寶笈三編(延春閣),第五冊,頁2175&*故宮書畫錄(卷六),第四冊,頁112&*故宮書畫圖錄,第二十三冊,頁324-327&*1.陳昱全,〈清王翬倣黃公望富春大嶺圖意〉,收入何傳馨主編,《山水合璧:黃公望與富春山居圖特展》(臺北:國立故宮博物院,2011年五月初版一刷),頁348。 &*本開前景畫土坡及茂密樹叢,中景小橋、溪澗,村屋座落於山間臺地,後方主山山形圓渾、礬頭堆壘。以汁綠與墨側筆點苔,羅列整齊、密布在岩縫與坡頂。圓弧狀的山形、卵石堆疊成的礬頭與山間平臺、披麻皴法與橫向的苔點等,確實掌握大癡神髓。但山體造型不類現藏南京博物院藏黃公望〈富春大嶺圖〉中的峭拔山勢。題識云:「倣大癡道人富春大嶺圖意」此「富春大嶺圖」可能指「富春山居圖」,即取其中一段,仿其筆意。(20110609)&*The foreground scenery of this painting depicts a slope and dense trees. In the middleground is a small bridge over a stream with village houses scattered in the hills, the form of the main mountain rounded with piled alum heads. The vegetable green and ink with slanted-brush moss dots are arranged orderly and densely amongst the crevices and slope tops. The arcing mountain forms, rounded rocks piled to form alum heads, flat outcroppings in the mountains, hemp-fiber texture-stroke method, and horizontal moss dots truly grasp the essence of Huang Gongwang’s manner. The shape of the mountains, however, differ from high and steep peaks in Huang Gongwang’s “Great Summits of Fuchun” in the collection of the Nanjing Museum. The inscription here reads, “Imitating the Manner of Huang Gongwang’s ‘Great Summits of Fuchun.” In fact, however, “Great Summits of Fuchun” in this work might refer instead to “Dwelling in the Fuchun Mountains,” taking one section from it and imitating the brush manner.(20110609)