Description 松下高士 Scholar Under Pine Tree
釋文：巖氣變青蒼，雙松常夕陽，浮雲送殘雨，飄灑葛衣涼。
款識：維屏先生正筆，西山逸士溥儒。
鈐印：玉壺（朱文）、溥儒（白文）
Signed Pu Ru in Chinese
With two seals of the artist
註：
上款人「維屏先生」即為蔡維屏（1911-1997），南京人，曾任國民黨中央政治學校教授、財政部貿易委員會秘書兼組長，曾駐守多國任領事及大使、退休後曾出任國際關係研究所主任、中華戰略學會副理事長，並任國民黨第十一至第十四屆中央評議委員。
「渡海三家」中的溥心畬被譽為北宋山水第一人，不僅能作山水，院體花卉鳥獸、人物、界畫皆無不能，甚至偶作漫畫人物，戲筆詼諧、妙趣橫生；溥心畬治學嚴謹博達、擅詩文書法，楷書腕力透紙、流轉明麗，堪稱全能型的畫家。其出生自皇家貴冑，中年逢戰亂流離抵台，後寓居寒玉堂直至溘然離世。溥心畬的創作從摹古出發，早年避隱戒台寺遍覽摹臨歷代名蹟，仿宋人趙伯駒、趙子昂，以至明代唐寅、仇英等，此時的溥心畬習畫遵古循法，以三礬九染作青綠山水，工細筆羝，用色穠麗重彩，一開傳統文人畫的生面。晚期山水畫風偏轉南宗，多取馬遠、夏圭隨意瀟灑的筆意及倪雲林、米元章畫骨的澹泊疏逸，敷色淡雅內斂，風格婉約，因其畫中常寄託離國背鄉的愁思，相類文人畫的精神，所謂的文人畫意味著業餘、不與時同的藝術，創作僅用以自娛寄懷；又因其遜清遺民的身世，讓他的作品滿溢著皇家的氣韻，溥心畬淵博的學養與儒雅的氣質，讓他的創作成為「逸筆儒風」的代表，更後被世人譽為「中國文人畫最後的一筆」。
此作《山水》是溥氏山水難得的經典名作，依南宋邊角山水畫構圖，通幅倚左側構圖，上方巨巖獨立，託自李成、范寬畫意，取勢險峻但又鋒芒少露，乾筆小斧劈皴兼用米點，從高處敷色、由濃轉淡，用筆雖然簡澹，卻可看出流暢的筆勢與雅緻，孤峰隱於雲霧間，恰好的留白更突顯崗巒高踞的峻峭，一派靜謐仿彿如臨仙境。下方山巔緩坡筆法精細綿密，設色淡雅，斧劈、披麻兼用作出爽颯的山石壁面，又以雙勾畫二松拔地直出，可見溥心畬運筆的線條均勻流暢，松樹體幹昂然少皴，松針攢三聚五成鹿角狀，敷色作出合集聚散的層次感，松下高士獨佇，遠眺蒼茫山景，頗有平淡高趣的意韻；畫幅左側以行草書題詩，融楷法的遒勁方正，字體內勁、結構外鬆，觀之醇厚中可見婉麗，與詩意的沖淡蕭散形成強烈的對比。
Among the greatest artists relocated to Taiwan, Pu Hsin-Yu was regarded as the greatest Landscape painter in the Northern Song style. He excelled in the Landscape genre, Flower-and-Bird, Figure and even caricatures for fun. In terms of arts and literature, Pu Hsin-Yu was a strict teacher who excelled in poems and calligraphy. His Regular script was sturdy and elegant, and he was praised as an allround artist. Due to his royalty background, he fled to Taiwan during the war in his middle-age, and lived in Hanyu Tang till his death. Pu Hsin-Yu's works followed techniques of ancient paintings, as he learnt through imitating ancient scrolls during his hermitage at Jietai Temple. He imitated Zhao Bo-Ju, Zhao Zi-Ang, Tang Yin and Chou Ying of the Ming dynasty. Being loyal to traditional styles, his multilayered colouring and gongbi brushwork produce colourful scholarly paintings that differ from traditional literati paintings. Paintings in his later career resemble the Southern Song period, such as Ma Yuan, the carefree strokes of Xia Gui and the fresh composition of Ni Yunlin and Mi Yuanzhang. Colours used were always light and elegant with a melancholic tone, which resembles a typical literati painting.
This work was a classical work of Pu Hsin-Yu with a diagonal composition of Southern Song. Subjects were inclined to the left. A gigantic rock stood upright on the top, and resembled the style of Li Cheng and Fan Kuan. The cliff is sharp-edged drawn with dry brush and a short axe cun. Colours concentrated on the top with a gradient to the lower part where a simple structure was made to enhance the smooth and elegant brushwork. A lofty mountain perks above the clouds of blank space, highlighting its grandeur and the discreet surroundings. Refined brushwork was used at the lower part with light ink, axe and hemp-strokes to form an autumn scene with two pine trees standing upright. Such composition shows Pu Hsin- Yu's cautious depiction of pine rough trunk and clustered leaves. A hiking scholar rests under the pine looking afar into the distance. An inscription in cursive script was written on the left with hints of the formality of regular script. Forces were shown juxtaposed with the loose structure. This forms a poetic composition and a harmonic comparison with the melancholic painting.
Dimensions 69.5 x 31 cm
Artist or Maker PU HSIN-YU (Taiwanese, 1896-1963)
Medium 水墨 紙本 鏡框 Ink on paper, framed
