石渠寶笈初編(重華宮),下冊,頁744&*故宮書畫錄(卷六),第四冊,頁120&*故宮書畫圖錄,第二十三冊,頁366-369&*1.陳昱全,〈清王翬大癡道人倣北苑夏山〉,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349。 &*本開描繪江南一帶山巒低緩、視線開展的山川景緻。王石谷透過由左下往右中、並逐漸朝左後方延伸的轉折水域,巧妙地展現空間往遠景透視的深度。並用細膩筆法寫山體輪廓,交融乾筆披麻皴與濕潤的墨與赭色暈染,巧妙地掌握黃公望在〈富春山居圖〉中靈秀的筆法與靜謐的氣質。題識:「大癡道人倣北苑夏山圖」,本開山體造型與走勢與〈小中現大〉冊中〈倣黃公望臨董源夏山圖〉確有近似之處。(20110609)&*This album leaf depicts the low and rolling hills of Jiangnan, the line of view spreading out to the mountain and river scenery. The composition of this work proceeds from the lower left to the middle right, gradually then following the zigzagging water into the distance as it skillfully unfolds the space towards the back for depth and perspective. Fine brushwork delineates the mountain outlines, interspersed with dry hemp-fiber texturing and moist ink as well as washes of ochre that expertly grasp the spirited brushwork and serene quality of Huang Gongwang’s “Dwelling in the Fuchun Mountains.” The inscription reads, “Huang Gongwang’s Imitation of Dong Yuan’s ‘Summer Mountains,’” the shape and force of the mountains here being actually quite similar in places to the leaf “In Imitation of Huang Gongwang’s Copy of Dong Yuan’s ‘Summer Mountains’” from the album “To See Large Within the Small.”(20110609)