1. The Leshan Tang Collection of Classical Chinese Painting and Calligraphy, Leshan Tang, Taipei, July 2006, pp. 110-123, 164-𝔍165

2. Please refer to the Chinese literature

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〈樂山堂藏古代書畫〉(臺北，樂山堂，二〇〇六年七月)，頁110-123、164-165

著錄

顧麟士〈過雲樓書畫續記〉 (南京：江蘇古籍出版社，一九九〇年)，卷四，頁68-69

One of the "Four Wangs" of the early 🍒Qing Dynasty, Wang Hui, who was bestowed the title "Clear Brilliance of Landscape" by the Kangxi Emperor, had already garnered considerable attention within the artistic realm before he embarked on creating the "Southern Tour Scroll." With his remarkable prowess in emulating antiquity, he enjoyed a prominent reputation. The "Crit♛ique of Paintings" by Zhou Lianggong recorded: "Many people in the lower Yangtze River region commissioned him to create paintings, which were often adorned with fake inscriptions to cater to the taste for antiquity. Despite being experienced, people were still unable to recognize them as works of contemporary artists." This glimpse into the past sheds light on his status.

Wang Hui (1632-1717), was known by the courtesy name "Shigu" and the sobriquets "Renyan Shanren" and "Wumu Shanren." Hailing from Changshu, Jiangsu province, he received mentorship from Wang Jian (1598-1677), who recognizing his inherent aptitude and took him under his wing. He directed Wang Hui to "study ancient calligraphic methods for several months, then personally provided guidance through copies of famous ancient inscriptions, resulting in substantial advancement." Subsequently, through Wang Jian's recommendations, he became a disciple of Wang Shimin (1592-1680), emulating preserved masterpieces and receiving commendations, allowing him to develop a firm foundation in studying the techniques of past artists. This advantage in emulating antiquity is conspicuously demonstrated within the current work. From the inscriptions in the current album, it is evident that, in certain ꦫinstances, he imitated works by Zhao Danian, and more notably, he 🍸referred to Wang Shimin's collection when emulating the style of Zhao Danian

🅰The majority of works in the album feature ink or light-colored landscapes, executed with skillful෴ brushwork and graceful composition, exemplifying a fresh and natural genre. The artist either referred to renowned masterpieces or closely adhered to the distinctive styles of past artists while innovating upon them. This synthesis led to a harmonious culmination of the Song and Yuan styles of landscape painting, encapsulating the essence of this period.

This compendium, underpinned by a faithful allegiance to the South School tradition, is a testament to the adeptness of imitating antiquity. It represents a successful fusion of Yuan-era brushwork, Song-era landscape composition, and the spirit of the Tang dynasty. The revered Tang Yin is one of Wang Hui's most admired artists. As per the research of Mr. Xiao Yanyi, Wang Hui initially favored the landscape painting techniques of Tang Yin during his early years. The Palace Museum in Beijing houses several of his early works, created between his thirties and forties, which echo Tang Yin's style. The inscriptions in the work also explain: "Tang Xieyuan studied Xigu’s method, with precipitous cliffs and rushing streams, capturing the essence of surpassing splendor." This was merely an attempt to adopt Tang Yin's artistic style. According to Dong Qichang's exploration of art history, when classifying 🎐Southern and Northern School painters, there was no mention of Tang Yin among the Four Masters of the Wu School. Wang Hui, as an inheritor of this tradition, demonstrates a concise and vigorous brushwork with bold ink application.

Clearly, the work is predominantly oriented towards the Southern School's techniques, skillfully integrating aspects from various schools. It laid the groundwork for the establishment of a new fusion between Southern School brushwork and Northern School landscape composition, eventually echoing Zhang Geng's assertion t🍌hat "both the Southern and Northern Schools are fully represented, culminating in Shigu." It is thus deserving of being hailed as a masterpiece.

In the late Qing Dynasty, this album found its place in the collection of Gu Wenbin's "Guo Yun Pavilion." Gu Wenbin (1811-1889), also known by the courtesy name 🔴"Weiru" and the sobriquets "Zishan" and "Gen'an," hailed from Suzhou. He amassed over 800 types of ancient books, calligraphy, paintings, and rubbings, ranking as a preeminent collector in the late Qing era of the Jiangnan region. According to the "Second Records of Paintings and Calligraphy in the 'Guo Yun Pavilion'," the small portrait of Wang Hui at the beginning of the work was created by the Suzhou painter Yuan Chao. Yuan Chao, also known as Zixin and by the sobriquet "Yanshan Qiaoke," was skilled in depictions of women and portraits.He was active in Shanghai. The colophon was composed by Jin Jiatai, who used the courtesy name "Binqing" and the sobriquets "Yaoyan" and "Xianyan." Jin Jiatai was proficient in poetry, calligraphy, and painting, and was particularly skilled in epigraphic research. In the seventh year of the Tongzhi era (1868), Jin Jiatai was invited to Japan to give lectures, during which he extensively purchased lost Chinese books, which he later brought back to China.

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註：

被康熙皇帝御賜「山水清暉」的𝓡清初四王之一王翬，在繪製《南巡圖》之前，已在藝壇甚為矚目，憑其高超的仿古造詣，名重一時。清周亮工 《讀畫錄》記：「吳下人多倩其作，装潢為偽，以愚好古者。雖老於鑑別，亦不知為近人筆。」可見一斑。一介布衣王翬(1632-1717)，字石谷，號耕煙山人、烏目山人，江蘇常熟人，其師王鑑(1598-1677)，因欣賞他的天生材禀，親加提攜，曾命他「學古法書數月，乃親指授古人名迹稿本，遂大進。」後經王鑑引薦，師從王時敏(1592-1680)，命摹家藏名迹，並屢屢讚之，使得其鑽研古人畫法有所依據，如斯摹古學習之優勢，也正好反映在本冊之中。據本冊題款可知，當中仿趙大年一幅，更是參考了王時敏的藏品。

本冊以水墨或淺絳山水為主，用筆熟練，收放自如，屬清新🍷自然小品冊。畫家或參考所見名家古迹，或捉緊古人風格特色，與以創造，圓滿地集合宋元山水畫風格之大成，應為中期作品。除有一開沒有署款以外，皆以一開摹寫一古人的模式繪製，撫古對象包括五代、宋、元時期名家，為董其昌提出之南宗正派，文人之畫。本冊正是忠誠地以此一脈為主導的仿古範本，「以元人筆墨，運宋人丘壑，而澤以唐人氣韻，乃為大成」。而唐寅則是王翬最為鍾愛的畫家之一，據蕭燕翼先生研究，王翬早年比較偏愛唐寅的山水畫法，北京故宮博物院也收藏了多幅他三十至四十歲時仿唐寅畫法的早期作品，可資參考。本冊題款也有解釋道：「唐解元學晞古法，絕壁奔流，有出藍之妙。」是借唐寅之畫風追古而已。然而，按董其昌梳理畫史，在分序南、北宗畫家之中，明吳門四家中唯獨沒有提及唐寅，而王翬則以此為撫古對象，🌞表現出筆法簡勁，用墨酣暢。顯然，整冊可說是主要以南宗為宗的學習對象，融會一些南宗以外的諸家之長，為日後創立以南宗筆墨、北宗丘壑的新面貌打下基礎，终成為清人張庚所言「盡有南北宗，至石谷而合焉」，堪稱經典之作。

本冊晚清時成為顧文彬「過雲樓」收藏，顧文彬(1811-1889)，字蔚如，號子山，晚號艮盦，蘇州人。家有「過雲樓」，收藏古籍、書畫、碑帖達800餘種，為晚清江南藏家之冠。據《過雲樓書畫續記》所述，冊首王翬小像出自蘇州畫家袁潮手筆。袁潮，字子辛，號研山樵客，工仕女人物、肖像寫真，兼解音律，活躍於上海。題贊者是金嘉采，字邠卿，號藥菴，又號䆃菴，蘇州人，詩、書、畫俱擅長，又精於金石考據。同治七年(1868)，金嘉采應邀東♓渡日本授課，傾囊大批購買中國已散失書籍而返。