設色紙本 立軸

款識：
松竹留因夏，溪山去為秋；久賡白雪詠，更喜採菱謳。
鏤玉鱸為案，圖金橘滿洲；此行無限樂，曳杖上溪頭。
苦瓜上人〈康熙甲戌七月廿一日過刊江平山精藍三首之一〉。新喻傅抱石。

鈐印：「抱石大利」。

-Small holes can be found at four corners, which can be improved by restoration. Otherwise, generally in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

註：石濤影響近百年畫壇深矣！傾慕以至師法其畫藝者不知凡幾，傅抱石即窮其精力撰寫研究考証清湘之文章，編成年譜，更動念把石濤一生事迹，「自出湘源，登匡盧，流連長干，敬亭、天都、卜居揚州、北遊燕京…，以至以死後高西塘的掃墓，寫成一部史畫，來紀念這位傷心磊落的藝人」。這個極具野心的創作計劃礙於客觀環境限制，最終未能竟其全功，但卻促成了他在一九四一至四二年秋期間，陸續寫了不少有關石濤生平之作。在「壬午重慶畫展」的百幅展品中，如此題材即佔了十餘幅。據其畫展自序中，僅提及個別作品而未具詳盡名單，日後見於畫冊者包括〈訪石圖〉、〈大滌草堂圖〉、〈對牛彈琴圖〉、〈送苦瓜和尚南返〉等。

本幅錄石濤詩，時維康熙甲戌（1694），正大滌子南返客居揚州，過「平山精藍」所作。平山精藍者，即該市北郊之千年古剎大明寺，亦即五載前，康熙南巡時，石濤接駕之處。惟流光已逝，心境不一，詩中再無「聖主」、「萬歲」之句，只是「疎雨新涼」，暑氣褪盡，取景自然入詩矣。若按〈文淵閣四庫全書〉收錄之〈宋詩鈔〉，本詩實出自米芾，原題為〈將之苕溪戲作呈諸友〉，石濤僅更易個別用字而已。

畫中層巖積叠，虬松間生縫隙中，雲嵐迴盪，高士踱步於濃蔭下，幽谷清話，自有寄迹林泉，去俗忘機之趣，此亦抱石寄身戰火離亂之際，心境所嚮往者。

其構圖松巖穿插，重重迂迴而上，呈高聳之勢，佈局井然，密而不亂，虛實相間，秩序自生。運筆簡練迅捷，線條細長俐落，設色沉實渾厚，極見蒼茫之致。雖未署年，若對照其四十年代初之畫風、畫法，且構圖取題似未重覆，應屬一九四二至四三年間所出。

參考資料：
〈石濤上人年譜〉，傅抱石撰（京滬週刊社，一九四八年一月），頁74