石渠寶笈初編(養心殿),上冊,頁673&*故宮書畫錄(卷五),第三冊,頁524&*故宮書畫圖錄,第十冊,頁163-164&*1.許郭璜,〈清王翬倣李營丘江干七樹圖〉,收入《李郭山水畫系特展》(臺北:國立故宮博物院,1999年初版),頁109-112。 &*王翬(1632-1717)字石谷,號耕煙散人,又號烏目山人、劍門樵客。江蘇常熟人。善山水,最初從王鑑(1598-1677)學畫,後王鑑引介再從王時敏(1592-1680)遊,並臨摹其家中所蓄之宋元名家巨跡,集其大成。為清初四王中致力於古人最深者,畫筆綿密細緻,尤得力於王蒙為多。江岸七樹,松柏居中,兩側畫枯樹五株,高低偃仰,錯落有致;步騎三人,且語且行於樹隙之間,隔岸作遙浦遠山。全圖色調灰沈,表現出秋意荒率的氣息。本幅佈局一河兩岸出自元人,山石披麻皴則取法董巨,蟹爪枯樹則有李郭遺意,筆法則出於自運。集前人之長,而不為時人流派所拘牽囿限,卓然獨絕,成一代作家。幅上方題識抄錄董其昌畫論二則,第一則的主旨是在探討畫樹幹和佈列樹枝,以及畫樹結頂的訣竅;另一則是闡述李成、董源畫樹之相異處,字簡意遠,深有見地。(許郭璜)&*王翬(西元一六三二-一七一七年)字石谷,號耕煙散人,又號烏目山人、劍門樵客。江蘇常熟人。山水得王時敏指授,為清初四大家之一。 江岸七樹,松柏居中,兩側畫枯樹五株,高低偃仰,錯落有致;步騎三人,且語且行,隔岸作遙浦遠山。本幅佈局一河兩岸出自元人,山石用披麻皴法則學董巨,而筆法皆出於自運,僅左側兩樹作枯枝下偃學蟹爪,略存李郭遺意而已。 &*Wang Hui, a native of Kiangsu, studied landscape painting under Wang Shih-min and became one of the Four Masters of the Early Ch’ing. Seven trees stand on a foreground bank. In the center is a tall pine, near which is a gnarled cedar. To the left and right are 5 withered trees of various shapes and sizes. Three travelers in conversation appear in an opening among the trees. Distant mountains rise from the opposite shore. This type of composition-two banks divided by a river-derives from the Yűan dynasty. The hemp-fiber texturing of the earthen slopes is from the Tung-Chu tradition. With the supple brushwork, only the “crab-claw” branches at the left reveal the Li CH’eng and Kuo Hsi style. This work dates to 1712.