石渠寶笈續編(御書房),第四冊,頁2216&*故宮書畫錄(卷八),第四冊,頁110&*故宮書畫圖錄,第十二冊,頁95-96&* 董邦達(一六九九至一七六九年),浙江富陽人,字孚存,號東山。雍正癸丑(一七三三年)進士,乾隆時襄編石渠寶笈諸書,仕至禮部尚書。畫山水從董其昌入手,得元人筆墨精神,而以清麗的作風取勝。 本幅筆法鬆秀圓柔,墨色濃淡參差變化,景物的造型全由畫家自出心裁。主山脈呈螺貝狀堆疊上昇,煙嵐和簡筆勾成的樹叢屋宇橫越山巒,畫面上形成縱橫交錯的動態感。 &* Tung Pang-ta (tzu Fu-ts’un, hao Tung-shan) was a native of Fu-yang, Chekiang. He received the chin-shih degree in 1733 and after-ward entered the court of the Ch’ien-lung emperor. He assisted in the compilation of the imperial catalogue Shih-ch’ü pao-chi and later served as minister of the board of rites. His paintings were strangely influenced by Tung Ch’i-ch’ang. He captured the brushwork and elegance of Yüan painting giving his style a clarity and beauty. Here brushwork is relaxed, elegant and rounded; ink and color are blended and modulated; and the forms of the scene were born from the artist’s heart. A central peak rises, spiraling to a great height. This verticality is stabilized by a mist-filled, simple line of trees and pavilions arranged horizontally. This contrast further serves to give the painting a sense of vitality.