石渠寶笈三編(御書房),第七冊,頁3155&*故宮書畫錄(卷八),第四冊,頁100&*故宮書畫圖錄,第十一冊,頁101-102&* 弘旿,乾隆時人(作品年代約一七五一至一七九二年),姓愛新覺羅,為滿清宗室,字恕齋,又字醉迂,號一如居士,瑤華道人,封固山貝子,善詩畫。山水從王原祁入手,深得宋元各家三昧;筆墨蒼勁有力,構圖簡明而新穎。 本幅描寫隆冬深雪,林壑間寂靜無人的景緻。畫面明亮,山峰淡抹白粉,少用皴法而改以濃墨和白粉點襯出成列的枯樹和苔點,表現山脈的動態。近景寒林枝幹藩密盤曲,加上地面積雪,黑白交錯,產生活潑明快之感。 &* Active during the reign of the Ch’ien-lung Emperor, Hung Wu (hsing Ku-shan-pei-tzu; tzu Shu-chai, Tsui-yü; hao I-ju chü-shih, Ya-hua tao-jen) was a member of the Manchu Imperial clan as his surname, Aisin Gioro, indicates. A skilled poet and painter, Hung followed the style of Wang Yuan-ch’i (1642-1715 A. D.) but was also able to penetrate the mysteries of the masters of the Sung and Yüan dynasties. His brushwork is powerful, his compositions clear and original. Here Hung Wu suggests the atmosphere of mid-winter. Forests and ravines, quiet without men, are covered with a deep snow. The surface of the painting is radiant, the peaks dotted lightly with white ink. The use of ts’un (texture strokes) is infrequent, but rich ink, white paint and moss dots bring out the cursive movement of mountain forms. In the near distance, the branches and trunks of cold trees are complexly spiraled, while the areas above them are blanketed in snow. The strong contrast of black and white imbues the painting with a lively brightness.