石渠寶笈續編(乾清宮),第二冊,頁589&*故宮書畫錄(卷五),第三冊,523&*故宮書畫圖錄,第十冊,頁151-152&*Wang Hui, style name Shih-ku and sobriquet Keng-yen san-jen, was native to Ch'ang-shu, Kiang-su. In his youth, he studied painting under Wang Chien and Wang Shih-min, later delving into copying Sung and Yüan dynasty works, gradually finding his own way in art. This work was done at the age of 72. The slightly undulating long and short strokes gather and dissipate, expressing the pattern of the mountains and grasping the form of the “hemp fiber” texture method of the Five Dynasties artist Chü-jan (fl. 10th c.). Wang also used the rhythmic movement of the brush, varying between light and forceful, for the moss and lichen dots of deep and shallow as well as light and dark ink, making the work appear even closer to the style of Chü-jan.&* 王翬(西元一六三二-一七一七年),常熟人。字石谷,號耕煙散人、清暉主人、烏目山人、劍門樵客。山水得王時敏指授,為清四大家之一。 高山峻嶺,其下林壑幽深,水亭村屋,連綴於間。筆法能於熟?用生,墨氣極得溫潤婉約之韻。以淺清淡赭層層烘染,遂覺俊雅出塵,卓然超特。成於康熙甲申(一七0四年),時年七十三歲。 &* Wang Hui was a native of Ch’ang-shu, Kiangsu. His style name was Shih-ku and his sobriquets were Keng-yen san-jen, Ch’ing-hui chu-jen,Wu-mu shan-jen, and Chien-men chiao-k’o. He studied landscape painting with Wang Shih-min (1592-1680) and became one of the Four Great Masters of the Ch’ing Dynasty. Tall Peaks tower above deep valleys verdant with forests. Small villages and cottages dot the landscape. The master’s brush still contains a fresh quality despite the high degree of experience and practice. The ink has captured a gentle and moist harmony enhanced by subtle washes of blue and umber. More handsome and elegant than his usual works, the painting ranks esthetically high among his landscape. Wang Hui completed the work in 1704 at the age of seventy-two.