Description: 釋文:西日下山隱,北風乘夕流。燕雀感昏旦,簷楹呼匹儔。鴻鵠雖自遠,哀音非所求。貴人棄疵賤,下士嘗殷憂。衆情累外物,恕己忘內修。感歎長如此,使我心悠悠。 款識:元人去宋未遠,山水筆境尚近董、巨,無偏頗之習,如推畫沙石甚相遠也。溥儒。 鈐印:省心齋(朱文)、舊王孫(朱文)、溥儒(白文) Signed PU RU in Chinese With three seals of the artist 溥心畬素有北方畫壇第一之封號,臺靜農曾稱其「打破了北宗山水數百年的沉寂,直取北宗山水的精華。」溥心畬家藏唐宋名畫真跡,使他能夠摹古浸淫、深有所得。此幅《山水》氣勢溫和厚重、水墨滋潤,集溥心畬山居十年之大成,其隱居西山的經驗,讓他得以朝夕聽松濤聲,且觀山河明晦之變化,清幽閒適的環境與平靜自持的心態,涵養日久便有所感悟;溥心畬作畫無門派約束、無成規可循,全以自身的體驗和體會出發,此作觀之給人孤寂清逸之氣,頗得宋人風格,畫詩上引董巨,則可知其盡得南宗山水真傳。畫面右側以淡墨作出斧劈、披麻皴,析出爽颯的山石之勢;密林遠樹,悄然無聲,林麓間掩映以疏筠蔓草,置之危橋細徑,能得野逸清靜之趣;後方遠山則以輕墨澹染,彷彿群山罩霧、高遠幽寂;左下側以利落的乾筆皴出林樹,用筆草草、平淡天真,兩山之間有文士佇立橋上,遠眺山巒峰頂,樂以忘憂。畫上題詩行書筆勢如雲飛流水,更增添畫中意境;溥心畬認為「神在象中,意在象外」,長詩更訴盡其意,拓展了畫面空間。此《山水》一作,不僅顯露其早年古畫涵養的功力及儒學的品行,更說明了他在中國美術史上無可撼動的地位。 Pu Hsinyu was praised as the greatest in the Northern School of Art. Tai Jing-nong once said Pu “took the essence of the Northern style and revived the School.” Pu possessed Tang and Song ancient scrolls in his collection and could study through close observations. This work was tranquil with saturated ink, representing the austere lifestyles of a literati hermit, as if one was submerged by the sound of nature where the artist lived. This serene surrounding created by the painting was a typical style of the Song dynasty. Pu did not follow any school, but only drawn by his unique style from his observations of ancient ink masters. On the right, light ink and quick strokes were applied to represent the rough cliff. The forest was dense with a light bridge leading into a path. The lower left was depicted with dried brush and quick rough sketches. Between the hills was a scholar looking over the mountains. Inscription was written in smooth running script, as if to fit into the painting. Pu used a poem to describe the painting, leading into another virtual dimension of depiction. This work fully shows the style of this ink master in his early artistic career with great resemblance from ancient masterpieces.