惲壽平 1633-1690 | 擬宋元山水

款識：（一）松巌雲瀑啚。戲擬王叔明筆意，壽平。鈐印：壽平、正尗、南田小隱（二）洞泉聲沸石，霜樹勢參雲。橅趙承旨。鈐印：壽平印、正尗（三）趙松雪、王黃鶴皆作華溪漁隱，南田生因畫西溪釣徒。鈐印：惲壽平印、正尗、南田艸衣（四）山川出雲，為天下雨。倣米敷文筆意。鈐印：寄岳雲、正尗、壽平、園客（五）曲渚荒烟斷，深林見月遲。寒聲何處起，風在冣高枝。仿李營丘寒林圗。鈐印：園客、壽平之印（六）翠濕密篁溪上雨，霜生涼葉樹頭風。雲溪壽平。鈐印：南田小隱、正尗、南田艸衣、壽平（七）擬元人陸天游墨法，於倪幼霞逸趣中悟出。鈐印：壽平之印、東園外史（八）古木寒鴉。曹雲西有此本，茲背臨之。東園客壽平。鈐印：南田小隱、正尗、壽平之印、南田 題跋：（張大千）石谷畫以工力勝，漁山畫以才氣勝。工力與才氣兼勝者，惟南田一人耳。今觀此冊，清逸襲人，眉宇而復渾樸沉著，豈王、吳所可比肩耶。其書法以褚河南為筆，以黃豫章為體，尤為超卓，在書家中已為上乘，非並世諸賢所能夢見也。丁未（1967）五月，大千居士爰，拜觀謹識。鈐印：丁未、張爰之印、大千居士、大千唯印大年南田筆妙挾飛仙，仙露明珠曠世妍。自與徐黃相伯仲，故留餘地付耕煙。昔人謂南田自度山水不能及石谷，乃棄而為花卉。予意不然。正如歐陽公謂焉「讓此子出一頭地」，亦見古人交道之敦厚也。爰再題。鈐印：張大千長年大吉又日利（溥儒）畫中清秘、雲西，世語逸品。有明石田、華庭皆能嗣響。自是厥後，惟惲南田筆境逸韻，流溢在清秘、華亭之間。當時石谷以山水名寰宇，惲子讓其獨步，遂擅折枝，而山水罕傳於世。此冊精妙，獲者當襲什藏之也。溥儒題。鈐印：省心齋、溥儒（莊嚴）畫至明清，徒尚臨摹。窮年貌寫，鮮逾前人法度，畫壇衰頹於斯為甚。然其間不少傑出人物，自具機杼，不為前人所囿。若南田草衣者，尤為厥中翹楚。南田蚤歲與石谷同受山水筆法於西廬老人。自忖不克超越石谷，遂棄學花鳥。然偶作江山小景，無不精妙絕倫。今觀此冊，筆法超逸，敷色淡雅，豈在耕煙下耶。乙巳（1965）上巳日，莊嚴漫識。鈐印：夢盦、莊嚴慕陵長壽、六一翁（林清霓）惲壽平號東園草衣，別署雲溪外史。工詩文，韻為毗陵六逸之首。初善山水，力肩復古。及見石谷，自度不能及之。因不恥為其下第二手，故棄而習花卉，以徐崇嗣為師歸。然山水閒亦為之，一樹一石，偶有出塵之妙。此冊用筆尤為雋雅，豈石谷子所能窺及耶。乙巳（1965）夏日，林清霓觀於金山。鈐印：西河堂、清霓書畫（黃君璧）南田花卉多用沒骨法，渲染生動，濃淡得宜。曲盡造物之妙，洵為寫生能手。至其所畫山水，多擬黃鶴山樵。超逸雋永，尤稱獨步，真有不食人間煙火之感。而題詠、書法兼工，故世稱艸衣三絕，至不虛也。戊戌（1958）春日識於金門，黃君璧。鈐印：黃君璧印、君翁 題扉頁：神韻清逸。那志良。鈐印：那志良印、心如 邱氏家族鑒藏印：邱永和鑒賞章（八鈐）、邱扶輪藏畫（四鈐） 鑒藏印：沔陽周氏收藏金石書畫之章、揆一攷藏、湘鄉曾氏珍藏書畫、見賢思齊（八鈐、於每開背後）

《惲南田山水畫冊》，中商公司

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Zhang Daqian's colophon:
Shigu's [Wang Hui] painting is excellent for his skill. Yushan's [Wu Li] painting is excellent for his talent. When it comes to having both skill and talent, Nantian is the only one. I have now seen this album, which is compelling with its ethereal beauty, elegant but nonetheless simple and grounded. How can Wang and Wu compare? [Nantian's] calligraphy takes from the brush manner of Chu Henan and the substance of Huang Yuzhang. He is especially outstanding, excellent even among calligraphers and beyond the dreams of his contemporaries. Fifth month of dingwei (1967), humbly viewed and inscribed by Daqian jushi Yuan.
Nantian with his magical brush soars like an immortal, leaving divine dewdrops that shine beautifully like bright pearls. Himself of the same class as Xu [Xi] and Huang [Quan], he saved the field [of landscape] for Gengyan [Wang Hui]. People of the past said Nantian regarded his own landscapes as inferior to those of Shigu and thus gave them up in favor of floral subjects. I disagree. [Nantian behaved] just as Master Ouyang said, "Give this man the opportunity to shine." From this we see that painters of the past were honorable in their dealings with others.

Pu Ru's colophon:
Among painters, Qingmi [Ni Zan] and Yunxi [Cao Zhibai] are known in the world for their untrammeled works. During the Ming Dynasty, Shitian [Shen Zhou] and Huating [Dong Qichang] were both their worthy successors. After them, only Yun Nantian, with the imaginary realm of his brush and its ethereal resonances, was in the company of Qingmi and Huating. At the time, Shigu was known throughout the realm for his landscapes. Master Yun allowed him this singular reputation and focused on painting flowers, leaving behind very few landscapes. This album is miraculous. Whoever comes into possession of it should greatly treasure it.

Zhuang Yan's colophon:
Painters during the Ming and Qing dynasties came to value copying above all else, spending their lives imitating appearances and rarely able to exceed masters of the past. Painting declined tremendously because of this. Nonetheless there were many outstanding individuals who, with their own ingenuity, broke free from the limitations of tradition. Nantian, a commoner without a degree, was one of the champions among them. As a youth, Nantian and Shigu both studied landscape painting under Xilu laoren [Wang Shimin]. Thinking that he could not surpass Shigu, Nantian gave it up and pursued bird-and-flower painting. But the intimate landscapes that he painted occasionally are alike excellent. The present album is superb in brushwork and subtly elegant in color. How is it beneath Gengyan's painting?

Lin Qingni's colophon:
Yun Shouping, hao Dongyuan caoyi, bieshu Yunxi waishi, was skilled at poetry and prose, and his poetry was foremost among the Six Recluses of Piling. He first excelled at landscape painting, in which he strove to revive the past. Then he saw Shigu's work and regarded himself unable to match it. Unwilling to be inferior to him, Yun gave it up and turned to flower painting, adopting Xu Chongsi as his teacher. Still, he painted landscapes from time to time. Here and there, a tree or rock by him has an ethereal magic. The brushwork in this album is especially beautiful and elegant. How could Shiguzi hope to match it?

Huang Junbi's colophon:
In his flower paintings Nantian mostly uses the boneless method, with lively washes and good control of tonality. He fully expresses the miraculousness of nature, and is truly an expert sketcher from life. In his landscape paintings, he mostly imitated Huangheshan qiao [Wang Meng]. They are transcendent and unparalleled, with a truly otherworldly feeling. He is moreover adept at poetic inscription and calligraphy, and was thus known as the "commoner with three perfections," a moniker that he lived up to.