故宮書畫錄(卷六),第四冊,頁135-137&*故宮書畫圖錄,第二十四冊,頁138-141&*惲壽平(1633-1690),原名格,字壽平,後以字行,江蘇武進人。初善作山水,因自謙無力與王翬(1632-1717)爭勝,遂改工花卉。畫法承自徐崇嗣(10世紀後半)之沒骨法,又參以己意,風格獨創,蔚為清代花卉畫宗師。 本幅選自<寫生花卉冊>,畫冬日雪景,自謂師法王維(701-761)雪中蕉圖筆意。芭蕉葉染汁綠帶赭,山茶花葉背面、暗處染以淡墨,二者覆雪處均留白,僅花之瓣、萼與幹上略加點白粉。再以墨染底色,表現寒冬天色,具凜冽感。彈雪處用花青,頗有創意。(20110102)&* Yun Shouping originally had the name Ge and the style name Shouping, by which he later went. A native of Wujin in Jiangsu, he at first excelled at landscape painting but later felt that he could not compete with the master Wang Hui (1632-1717), turning to flowers instead. His style derives from the “boneless” method of washes used by Xu Chongsi (fl. latter half of 10th c.), but with his own interpretation as well. With his unique style, Yun Shouping became a master of flower painting in the Qing dynasty. This leaf, from “Album of Flowers Sketched from Life,” is a snow scene on a winter’s day and is said by the artist in his inscription to have come from the brush manner of plantain in snow depicted by Wang Wei (701-761). The plantain leaves have been rendered with vegetable green touched with ochre, while the backs of the camellia leaves and the darker areas were washed in light ink. The rest of the motifs have been left blank to indicate snow. Only the petals and calyxes of the blossoms and some of the trunk area have some white pigment added. The background was then washed in ink to suggest a dark winter sky, also having a feeling of chilling clarity. The areas of marbled snow are likewise done with cyanine blue for a very creative effect.(20110102)&*1.〈清 惲壽平 雪中蕉〉,收入譚怡令、劉芳如、林莉娜主編,《滿庭芳 歷代花卉名品特展》(臺北:國立故宮博物院,2010年十二月初版一刷),頁138