Acquired in Hong Kong in January, 1987

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一九八七年一月得於香港

Han Mo — Special Study on Wu Changshuo’s Landscape and Figure Paintings, issue 38, Han Mo Xuan P♒ublishing Co. Ltd., March 1993, p.30-31

The Leshantang Collection of Modern Chinese Painting, Leshantang, Taipei, July 2006, p.24, 65

Taipei, Museum of History, Ching Wan Society Twentieth Anniversary Exhibition, October 20 – December 𒁏9, 2012, and illustrated in catalogue, pl.75

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〈名家翰墨〉第三十八期，吳昌碩山水人物畫特集（香港，翰墨軒，一九九三年三月），頁30-31

〈樂山堂藏現代書畫〉（臺北，樂山堂，二〇〇六年七月），頁24、65

〈清翫雅集廿周年慶收藏展〉目錄書畫部分（臺北，清翫雅集，二〇一二年十月），圖版75

臺北，歷史博物館，〈清翫雅集廿周年慶收藏展〉，二○一二年十月二十日至十二月九日

In Wu Changshuo’s early landscape paintings, he often focused on pine and rock, possibly drawing inspiration from the scenery of the famous Dusong Paꦦss in his hometown, Anji. This painting depicts a picturesque sce༺ne where clear streams cascade down the towering cliffs, accompanied by ancient bamboo and gnarled pine trees. 

The brushwork is swift and powerful, employing the expressive techniques of cursive script and seal script, while the interplay of dry and wet ink creates a vibrant and dynamic composition. Despite using only ink, the painting exudes a refreshing and expansive atmosphere. It is no wonder Wu Changshuo’s la🦹ndscape paintings are compared to Shitao’s works. 

In March 1899, Wu Changshuo w♛as appointed to work in Tianjian, prom🐟pting his travel to the city. He completed this painting during his tenure, which ended around June when he returned to Suzhou.  

The titleslip i🧸s annotated by Ma Jiatong, a Tianjian artist who was famous🐎 at that time. It can be inferred that shortly after the completion of this painting, a collector in Tianjin acquired it and invited Ma Jiatong to inscribe on the titleslip in 1924. 

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註：吳昌碩早年山水，時以松石為主題，靈感或得自故鄉安吉獨松關之景。本幅寫巉巖清澗，幽篁老松，行筆迅疾蒼勁，以草篆之法縱情揮運，乾濕墨交互，暢快ജ淋漓，雖純施水墨而生意勃🌠發，泠泠有清曠之氣。人謂缶翁山水「動輒與石濤鏖戰」，此幅其庶幾乎？

一八九九年三月，吳昌碩奉委「海運津局差」，遂北上津沽，大約六月卸任歸蘇，本幅即寫於履職期間。署簽者馬佳同，即馬家桐，字景韓，因得「佳同」漢印而更名，天津人，山水、花鳥負時名，亦工🔯書法、篆刻，躋身「津門畫家四才子」。故推知本幅寫畢，即為津門藏家所蓄，一九二四年復倩馬氏署簽。