Description: 釋文：楓林雙駿 款識：心畬 鈐印：舊王孫（朱文）、溥儒（白文）、松巢客（朱文）、二樂軒（朱文） Signed HSINYU in Chinese With four seals of the artist 著錄： 《近代名家畫選 : 第一輯》，浪淘出版社，台北，1974 年3 月初版，頁53 ILLUSTRATED: The Paintings of Recent Famous Painters, Langtao Publishing House, Taipei, 1974, p.53 此幅《楓林雙駿》以白描細筆勾勒雙馬外形，精細準確之外又不失生命力；灰駿以墨色染出濃淡相間、生動鮮活的斑紋，鬃毛毫絲可辨，目光有力地凝視遠方，右前蹄昂然欲動，可知其精神飽滿、神態自信；棕駿掩於樹後，是溥氏常用的畫馬手法，以淡墨赭石染敷，眼神羞怯稚嫩，可知其性情溫順平和。雙駿立於山坡，溥氏以右往左下之坡勢構圖，不僅增加灰駿的動感姿態，更讓畫面充滿野趣。山石以枯筆速寫擬態，石青敷染地面，顯出楓枝成蔭之色；樹形雙勾加皴，立幹以逆鋒畫就、得勢見力，除了表現出老樹古樸蒼勁的質感外，更可見溥氏運筆轉折頓挫的功力；楓枝雖多用渴筆，但矯健多姿、生氣飽滿，樹幹以赭石敷染、赤色點楓，再用濃墨於背陰處點染破醒，楓林形意俱足。溥心畬被譽為「中國文人畫的最後一筆」，其詩、書、畫皆淡雅明淨，常有出世飄逸之感，是渡海三家中最純粹的文人畫家。溥氏習畫「始習南宗，後習北宋，然後始畫人物、鞍馬、翎毛、花竹之類。」並重視人文的修養與態度，曾作《仿李公麟五馬圖》且題款寫下對於歷代畫馬名家的見解，由此可知溥氏畫馬的風格多樣，唐、宋、元、清馬都臨摹習之，又因身為清代舊皇族，故能從其馬畫中看出郎世寧風格的影響，《楓林雙駿》得古人之技又綜和西洋之優點，實屬一幅駿馬傑作。 Horses in this work were sketched meticulously with small brush. The gray horse was coloured in light and dark ink with fine hair scrupulously drawn. It gazed into the distance, with one front leg lifted. A brown horse hiding towards the tree was a typical way of depiction by Pu. Coloured in light ochre, the shy gaze suggests the horse's timid character. Two horses stand on the top of the hill, running downwards towards the left of the panel. Such composition enhances the liveliness of the gray horse and thus the painting itself. Rocks were sketched with a swift dried brush. The ground was coloured in light green, echoing with the shadow of the tree above. The tree is crooked and sketched with sturdy strokes, enhancing the ancient touch of the aged tree and the brushstroke of the artist. Dried branches were always depicted through dried brush in ochre. Pu was praised as the most accomplished scholar of all times, with profound knowledge in literature, calligraphy and paintings, thus he was well-acclaimed among the literati artist in Taiwan. Pu practised portrait, horses, birds and flower and bamboo paintings, and incorporated styles from the Southern and Northern Schools of Art. Pu once shared his deep knowledge of horses in an inscription of his painting, comparing styles of the Tang, Song, Yuan and Qing dynasties, suggesting his scrupulous studies into ancient paintings. With an imperial background, Pu's horses resembles that of Giuseppe Castiglione from Qing dynasty, thus gathered styles of the East and the West.
