款識：董源、巨然、范寬三人皆同時，余所見僧巨真蹟甚夥。此幅成，類董者半、類巨者半，良由平日愛董之墨法、巨之筆，是以具來也。董、巨，畫家之楷體；范寬、米芾、吳仲圭、高房山，□近行草矣。前此則以董源為鼻祖，後則以沈周為集大成。石田臨黃則勝黃，師倪則過倪。然終懺董、巨如天之不可階而升也。余之學董、巨，亦不□，如石田之學董、巨，粗得其形似已耳。謹誌此以貢玉隣道兄一咲。時戊申（一六六八）重九，龔賢。鈐印：半山野人、賢

《筆翰之遺—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》（展覽詳細信息見第523號拍品）

《筆翰之遺—羅伊與瑪麗蓮 · 派普夫婦珍藏中國繪畫》，鳳凰城藝術博物館，一九八九年，圖錄編號15，第62-64頁

- Silk bears tanned tone due to age. - Restoration of silk loss and ink loss can be found here there.
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Artist's inscription: 
The three artists Dong Yuan (active 10th century), the monk Juran (active circa 960-980), and Fan Kuan (circa 960-1030) were all active during the same period. I have seen many authentic works of Juran. This work half resembles Juran's and half of Dong Yuan's. This is because I like Dong's use of ink and Ju's brushwork.
Dong Yuan and Juran are the painter's standard script. Fan Kuan, Mi Fu (1051-1107), Wu Zhongkui (Wu Zhen, 1280-1354), and Gao Fangshan (Gao Kegong, 12448-1310), are more like the running or grass scripts. Of those who came before, I consider Dong Yuan the founding father of painting. Later on, Shen Zhou (1427-1509) painted toward a great synthesis. Shitian (Shen Zhou)'s paintings after Huang (Huang Gongwang, 1269-1354) were better and when he followed the style of Ni (Ni Zan, 1301-1374) he over-reached. But in the end he lamented that Dong and Ju are like heaven and cannot be reached. My paintings after Dong and Ju are like Shitian's after Dong and Ju, roughly similar in form and that is all.
- Translation courtesy of Wai-fong Anita Siu

'This landscape hanging scroll fills a major gap in the documentation on Gong Xian. Datable to 1668, it sheds new light on Gong’s style during the later 1660s, a period which is pivotal for the emergence of his characteristic, somber style but for which there are few dated works. This painting, together with recently published works in Chinese collections (see for example Illustrated Catalogue of Selected Works of Ancient Chinese Painting and Calligraphy, vol. 1, fig. Jing 10-023, p. 152), confirm that the transition from Gong’s early, spare and linear style to his mature, ink-laden manner took place during these years.'
- Heritage of the Brush, p. 62