故宮書畫錄(卷六),第四冊,頁71-75&*盛京書畫錄,第六冊,頁19&*故宮書畫圖錄,第二十三冊,頁122-129&*Wen C. Fong, Images of the Mind ( New Jersey: The Art Museum, Princeton University, 1984), pp. 177-179.&*張子寧,〈《小中現大》析疑〉,收入《朵雲》編輯部編,《清初四王畫派研究論文集》(上海:上海書畫出版社,1993),頁505-582。&*Wen C. Fong and James C. Y. Watt, Possessing the Past: Treasures from the National Palace Museum, Taipei (New York: The Metropolitan Museum of Art, 1996), pp. 474-476.&*何傳馨,〈清(原題明董其昌)仿宋元人縮本畫及跋(小中現大)〉,收入李玉珉主編,《古色:十六至十八世紀藝術的仿古風》(台北:國立故宮博物院,2004),頁242。&*1.陳韻如,〈清王時敏倣宋元人縮本及跋冊〉,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339-341。 &*〈倣黃公望山水〉以一河兩岸為前景,再藉雲煙隔出主山與前景相對。此一山水構圖與黃公望現存山水作品並不相近,反而更呈現晚明山水的面貌。山體多已被區分為長條狀塊面,峰頂礬頭的石塊則羅列相續,突出的石塊造型,奇特的遠山設色與配置,都流露著不同於黃公望的山水型態。但是,雖在造型與用筆上的面貌不同,透過色彩烘托出鬱鬱蒼潤的畫面效果,卻能與後人形容黃公望山水特質的「草木華滋」讚語相呼應。(明 董其昌 倣宋元人縮本畫及跋冊 第十二開 20110609)&*In this work, the twelfth leaf from the album, is a foreground scene of a river and two banks. They are separated from the main peaks enshrouded in clouds behind, thereby contrasting with the scenery in front. The composition of this landscape is dissimilar from surviving landscapes by Huang Gongwang, instead revealing the appearance of late Ming landscape painting. The mountain forms are already separated into long narrow shapes, and the alum-head rocks on the mountaintops are presented in connected rows. The shapes of the protruding rocks along with the unusual coloring and arrangement of the distant mountains all reveal a landscape manner differing from that of Huang Gongwang. Nonetheless, despite differences in terms of form and brushwork, the moist and hoary effect to the painting brought out by the coloring still echoes the praise of Huang Gongwang’s landscape as having “Grasses and trees lush and moist.”(20110609)