石渠寶笈初編(御書房),下冊,頁858 &*故宮書畫錄(卷六),第四冊,頁129&*故宮書畫圖錄,第二十四冊,頁48-51&*1.陳昱全,〈清惲壽平倣黃公望天池石壁〉,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350。 &*本幅構圖布景依對角線安排,右側上半描寫實體山岳、左側下半畫江河水域。運用重複的側筆乾擦,加以細淡的輪廓線與皴染烘托出山體質面。畫上自題:「師子久天池石壁」。山體由右下近景一層層地向左後方遠景排列堆疊,逐漸開啟朝向遠景的透視,經由重組畫面元素,巧妙地將黃公望〈天池石壁〉「垂直」豎立的山體,轉化成左右「水平」式構圖,山石累積布排的概念確實與黃公望山水契合。(20110609)&*The compositional arrangement of this painting is arranged along a diagonal line, the upper right depicting solid mountain scenery and the lower left side showing the water of a river. With repeated slanted-brush dry texturing to which was added fine and light outlines as well as textured washes, they bring out the quality of the mountains. The artist’s inscription for the painting reads, “Following Huang Gongwang’s ‘Stone Cliff at Heavenly Pond.’” The mountain scenery builds up from the foreground in the lower right layer upon layer, creating arranged levels extending to the background on the left. The view gradually opens up to distant scenery. By restructuring the elements of the painting, the artist skillfully transformed the “vertical” mountains of Huang Gongwang’s “Stone Cliff at Heavenly Pond” into a “parallel” composition extending right to left. The idea of arranging accumulated landscape elements indeed accords with the landscapes of Huang Gongwang.(20110609)