Description: 釋文:(一)板屋臨高堰,山窗古驛亭,風聲隨水白,雨氣入燈青,秋鴈何時見,寒猿不可聽,石梁雲樹晚,松次夜冷冷。 款識: (一)衛華先生正。心畬。 (二)甲午春,心畬。 鈐印:明夷(朱文)、舊王孫(白文)、溥儒(白文) Signed HSINYU in Chinese With four seals of the artist 這幅《松壽圖》,溥氏透過筆墨蒼勁的筆法,寫出屈如蟠龍,矯如蛟騰的松樹,以濃、淡、乾、濕虛實相參與疏密布局的安排,寫出松的繚繞蜿蜒姿態,起筆藏鋒,寫出松葉攢聚之疏密。畫面中松樹偏集中於上半部,下方則使用大斧劈寫出松下之岩石,懸岩飛瀑,積碎石為水口,然後直瀉而下,瀑之中間一二筆,寫岩石水影,筆用懸針,上欲重而下欲輕,其輕處欲淡而無痕,是為工妙,皴法俐落,用筆繁而不亂,快速有力度,以表現山石夏泉之意。 在溥心畬先生的《寒玉堂畫論》中曾寫道:「水旁岩石,則宜濃重,愈顯其虛淡遠近之勢。畫飛泉,宜施於岩巒凹處,兩岩相夾,茂樹翳之,近則飛湍有影,遠則穿雲直下」。又道:「畫枝幹之法,處處轉折,頓挫而下,或用逆鋒以蹙其節。樹枝,宜隔斷,於空處加葉,或反折筆鋒,先上後下,則氣渾厚」。寫松則「松如耆艾魁儡之士,超群遐舉,屈如龍蟠,矯如蛟騰。松葉攢針,非同蓬茅之弱,竹葦之薄也,故必藏鋒。松葉,環枝之四面而成圓形,畫松針,必有兩三筆交插,以象其四面,松針之形至梢微曲,其曲以勁。」溥氏之意,是指在畫松葉之時,要藏鋒,如果使用偏鋒寫松葉,不懂將筆法藏鋒,寫松葉的形狀有如在畫叢草,因叢草之姿較為垂軟,不如松葉之勁挺,如此就離古法就很遠了。劉國松先生表示,溥心畬先生自己是喜歡畫松柏與枯樹,溥氏曾說:「松柏象徵著清高孤傲的人品,假若你沒有這樣的高尚的人格,就表現不出松柏這種性格。」溥老的水墨韻致逸氣,筆筆出於性情,趣味橫流,常流露出淡雅清俊的獨特文人內涵。 This work was painted using various skills of brustrokes to depicted the crooked pine tree and its dense leaves. The top half of the painting was carefully painted while broad brushstroke was used for the rocks under the pine, the majestic waterfall. The painting was composed emphasizing the top half of the painting. Various light brushstrokes were meticulously depicted to represent rocks and river in summer time. Pu once mentioned in his manifesto, “River next to the rocks should be depicted with saturated ink, the further the river, the lighter the ink. Waterfall should be depicted in between rocks, greenery should be lush. Even the shadow of waterfall should be depicted, should it be nearer to the viewer. Those farther away should disappear into the mist.” He continued, “crooked branches should be depicted with brushstrokes. Stems would be cut by intertwined leaves and branches. Brushstrokes should be different accordingly.” As for pines, he wrote, “pines are associated with aged people. They are crooked yet they flourish. Leaves are thin yet strong and sharp. Two or three strokes should be used branching outwards. Specific brushstrokes should be used to resemble ancient ink masters. Liu Guosong once mentioned that Pu Hsinyu loves pine and ancient trees. Pu once said, “Pine symbolizes a noble character and its painting requires one.” Pu’s work carries an austere elegant touch of ink, representing his unique literati character.