石渠寶笈三編(延春閣),第五冊,頁2206&*故宮書畫錄(卷八),第四冊,頁95&*故宮書畫圖錄,第十冊,頁229-230&* 禹之鼎,生於世祖順治四(公元一六四七)年,死年不詳,康熙四十八(公元一七0九)年尚在世。江蘇江都人,字上吉,號慎齋。康熙間以供奉任職內廷畫院。擅長畫故實人物,而白描和寫真人物,山水畫也頗堪觀賞。本幅雲湧於群山之間,亭臺錯落,亭中高士談道,橋上琴童,小徑花鹿,松竹花木,生意盎然。加以石青石綠敷染山丘,氣氛有如一派人間仙境。趙伯駒為南北宋之間的青綠山水畫名家,後世頗多畫家倣效。本幅重設色,輪廓處用泥金勾勒,這是典型的青綠法。&* Yü Chih-ting (style name Tzu-chi, sobriquet Shen-chai) was a native of Chiang-tu, Kiangsu. During the K’ang-hsi period (1662-1722) he served in the Imperial Painting Academy. Excelling in painting historical figures, figures done in plain outlines (pai-miao) , and portraits, he enjoyed great fame in his own period. Occasionally he painted landscapes which are also quite accomplished. Clouds waft through the mountains in which a number of pavilions are nestled. Scholars sit in a pavilion chatting, as a servant boy carries a ch’in across a bridge. Deer amble among the pines, bamboo, and other foliage. This is a scene full of vitality. The malachite and azurite Yü Chih-ting added to the mountain peaks make the entire landscape look like the realm of immortals. In this painting, the heavy coloration and use of gold for contour lines is a standard method of painting blue-and-green landscapes developed by Chao Po-chü, a famous painter of blue-and-green landscapes whom many artists imitated, including Yü Chih-ting. &*1.王耀庭,〈清禹之鼎擬趙千里山水〉,收入王耀庭編,《青綠山水畫特展圖錄》(臺北:國立故宮博物院,1995年七月初版一刷),頁98。