石渠寶笈續編(御書房),第四冊,頁2192&*故宮書畫錄(卷八),第四冊,頁102&*故宮書畫圖錄,第十一冊,頁229-230&* 鄒一桂,生於康熙二十五(公元一六八六)年,死在乾隆三十七(公元一七七二)年,江蘇無錫人。字原褒,號小山,又號讓卿,晚號二知老人。曾中雍正五年進士,歷官到禮部侍郎,加尚書銜。除能繪畫外,又精通畫理,著有小山畫譜。 他的畫,以花卉最知名,畫山水亦頗具風格,如本幅畫河北薊縣盤山靜寄山莊全景,純以寫生手法出之,筆致細謹,樹石房舍遠近大小悉合比例,雲影山光也採透視畫法,令人有臨高遠眺,雲山勝景盡收眼下之概。 &* Tsou I-kuei, tzu (style name) Yüan-pao and hao (sobriquet) Hsiao-shan, Jang-ch’ing and later Erh-chih lao-jen, was a native of Wu-hsi, Kiangsu. He received the chin-shih degree in 1727 and led an official career which culminated in his appointment as Vice-President of the Board of Rites (later he was given the honorary title of President). He was interested in the theory as well as the practice of painting and authored a manual of painting, Hsiao-shan hua-p’u. Tsou I-kuei is best known for his paintings of flowers and birds, but he also proved himself a fine landscape stylist in works like this representation of the strangely-shaped Mount P’an in Hopei Province. In it he employed the principles of “drawing from life” which also characterize his bird-and-flower paintings. His brush fondly traces every detail of the trees, rocks and houses, and places them all in accurate spacial and size relationships to each other. His representation of the light on the mountains also follows the rules of visual realism. All of this creates in the viewer the impression that he is gazing on a real scene. &*1.馮明珠,〈鄒一桂太古雲嵐〉,收入馮明珠主編,《乾隆皇帝的文化事業》(臺北:國立故宮博物院,2002年初版一刷),頁87。