石渠寶笈初編(重華宮),下冊,頁735-736&*故宮書畫錄(卷六),第四冊,頁199-200&*故宮書畫圖錄,第二十九冊,頁214-219&*1.邱士華,〈傳元黃公望山水〉,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358。&*此作畫白衣文士端坐崖邊草廬中,前有奇石,後有巨峰,四周圍以籬笆林木,一側樹列斜下江面,隔江遠山數疊。點景人物及草廬用筆細弱,山石林木運筆急促,結構較凌亂鬆散。畫幅左上方大癡款印均係偽添。 畫幅近景右下角岩塊,與遠景巨峰礬頭,以硬直皴線率意折搭交錯,再以濃墨點苔或作林木點綴,頗類藍瑛(1585-1664)山石的表現方式,故此作應為明末清初浙派後期畫家之仿作。 (20110609)&*This painting depicts a white-robed scholar sitting in a thatched hut by a cliff. In front are decorative rocks with a massif rising behind. Surrounded by a fence and trees, they line up on one side towards the river with layers of mountains in the distance on the other. The brushwork for the figure and hut are thin and delicate, the brush movement for the landscape elements being quick and rapid while the structure relatively loose and disordered. In the upper left are a Huang Gongwang seal and his signature “Dachi,” which is a later spurious addition. The rocks in the lower right corner and the large alum-head mountains in the distance are all done in stiff and straight texture lines that directly intersect. With the moss dots in dark ink embellished as trees, it is similar to the landscape method of expression used by Lan Ying (1585-1664). As a result, this work is probably an imitation done by a late Zhe School painter of the late Ming or early Qing period. (20110609)