盛京故宮書畫錄,第五冊,頁7b&*故宮書畫錄(卷八),第四冊,頁177&*故宮書畫圖錄,第九冊,頁291-292&* 郭純(西元一三七0-一四四四年),永嘉(今浙江溫州)人,字文通,號樸庵,後以明成祖所賜「純」著名。永樂初入宮,賜之營繕所丞職稱,仁宗即位被封西華門待詔,後又升閣門使,宣德時為錦衣衛鎮撫。 水濱柳下,設蓆棚,賓主坐談,主人持羽扇,客著紗巾。童子三人,一煎茶水際,一執蠅拂立客人後,與捧食盒者若有所語。山石皴法是元代盛懋(約活動於十四世紀前半葉)風格,工力不弱。屋宇偶有誤筆,蓋不工界畫。 &* Kuo Ch’un (style name Wen-t’ung and sobriquet P’u-an) was a native of Yung-chia (modern Wen-chou, Chekiang) who was bestowed with the name Ch’un (meaning “purity”) by the Yung-lo emperor (r. 1403-1424). In the early part of his reign, Kuo entered the court and was awarded a position in the Work Project Office. During the reign of Emperor Jen-tsung (r. 1425), he was promoted to Painter-in-Attendance at the Hsi-hua Gate. Later, he was further promoted to Audience Officer, and finally under Hsuan-tsung became Judge of the Imperial Bodyguard. In this painting of willows by the waterside is a thatched hut in which figures sit and chat. The host holds a fan while the guests wear silken caps. Among the three attendants, one is brewing tea, another holds a flywhisk behind, and the other is with a food container. The landscape texture strokes are in the style of Sheng Mou (fl. ca. 1310-1360) and done quite successfully. The awkward lines of the building indicate that the artist was not gifted at ruled-line painting.