奚岡 1746-1803 | 山水

款識：（一）叢浦亂石間，水急魚難罩。欲去尚殘陽，幽思供吟嘨。寉渚生奚岡。鈐印：銑生（二）擬趙彝齋筆意，鐵生。鈐印：銑生（三）松壑高唫。蒙老。鈐印：奚岡（四）空山萬株木，靄靄秋多晦。屋在白雲中，人歸白雲外。蒙老岡。鈐印：銑生（五）擬思翁小景。鐵生。鈐印：奚岡。（六）渺渺臨風思美人，荻花楓葉帶離聲。夜深吹笛移船去，三十六灣秋月明。蒙老岡。鈐印：奚岡（七）鈐印：奚岡（八）淺水平沙凍鴨眠，秋聲吹過石橋邊。尋君兼得尋詩興，野樹紅雲欲雪天。鐵生岡作于冬花庵。鈐印：奚岡。（九）老樹扶踈葉半秋，野亭三面枕寒流。釣船歸去斜陽盡，惟有青山對白鷗。鐵生。鈐印：奚岡。（十）樹涼山意秋，雲淡川光夕。林下不逢人，幽芳共誰摘。鐵生。鈐印：奚岡（十一）矗矗青山帶白雲，石梁雞犬數家村。江空不遣漁郎到，落盡桃花晝掩門。蒙泉奚岡。鈐印：銑生（十二）嵐□□□□，樵□□□□處。綠樹早鶯啼，千峰隱山寺。鐵生。鈐印：奚岡 題跋：（王壯為）散木居士篆刻為西泠四大家之一，善書而畫尤高妙。《墨香居畫識》稱其「山水瀟灑自得，骨法肉氣二者俱備，詢所謂有筆有墨者。」此冊隨意點染，自然超妙。謂擬香光，亦不拘拘形似，而神意畢肖，殆其閒居遣興之筆。較之刻意經營者，尤有勝之。舊為雙谿老人所藏，偶獲展觀，畧識數語。乙巳（1965） 秋日，壯為於四師齋。鈐印：王炤堂、目畊肘書、壯為（江兆申）蒙泉外史本吾歙人，僑寓錢唐遂與西泠之次。曩在杭州，於兩峰諸寺猶時觀其遺迹，所作率皆筆墨古澹，盡去圭稜。蓋由董思白而黃一峰，醉心元人閫奧者也。此十二幀雜仿宋元諸家，一意神行，全不著意，故能超脫而富氣韻，是士人畫本色。視刻意之筆遠饒佳趣矣。乙巳孟秋，鄊後學江兆申拜觀并記。鈐印：江兆申印、𣐹原浪墨 題簽：奚銕生山水冊。乙巳（1965）夏，壯為。鈐印：无為 邱氏家族鑒藏印：邱永和印（六鈐）、吳忠媖印（六鈐） 鑒藏印：（馬壽華）木軒審定（二鈐）（那志良）那志良印、心如過眼（十二鈐）靜仁審定（二鈐）

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Wang Zhuangwei's colophon:
Sanmu jushi is known as one of the Four Masters of Xiling for his seal-carving. He was adept at calligraphy and especially accomplished in painting. Moxiangju huashi notes that his "landscape paintings are untrammeled and natural, endowed with both bone method and flesh--as people say, 'with both brush and ink.'" This freely painted album is naturally transcendent. The painter says that he is imitating Xiaoguang, but he is not mired in formal likeness, and captures the spirit and intent of the original completely. Executed at leisure for his own pleasure, this album is superior to works that are painted in belabored manner. It was formerly in Shuangxi laoren's collection. Having had the chance to view it, I have written these few words.

Jiang Zhaoshen's colophon:
Mengquan waishi was my fellow townsman from Shexian but lived in Qiantang, where he met the Xiling group. In the past in Hangzhou, I saw his brush traces in the various temples on the twin peaks. His works are alike archaic and pure, without any trace of artfulness. This was probably because he traced his lineage from Dong Sibai to Huang Yifeng [Huang Gongwang], and then devoted himself to understanding the secrets of the Yuan masters. These twelve leaves were painted after various Song and Yuan masters. Painted purely from the mind, they are completely natural and unbelabored, and thus are transcendent and full of resonance. They are quintessential literati paintings. Those who attend to intentional brushwork are far from aesthetic refinement!