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收藏著錄
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石渠寶笈續編（御書房），第四冊，頁2096-2097
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收藏著錄
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故宮書畫錄（卷五），第三冊，頁531
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收藏著錄
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故宮書畫圖錄，第十冊，頁177-178
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參考書目
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1.林莉娜，〈清王翬溪山紅樹圖〉，收入林莉娜編，《秋景山水畫特展圖錄》（臺北：國立故宮博物院，1989年十月初版），頁82-83。
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內容簡介（中文）
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王翬（西元一六三二－一七一七年）。字石谷，號耕煙散人、烏目山人、劍門樵客、清暉主人。少即善畫，繼得王鑑、王時敏指授，並隨之閱覽各地珍藏，藉機揣摩名蹟，因能筆參古今，貌合南北。畫技之精熟為清代第一。 此幀為石谷三十八歲作，其畫中極精之品。畫曾為王時敏、惲壽平所見，兩人皆欲留之，而石谷不與，蓋仿王蒙而深有得者。南田跋中評云：「芟盪陳趨，發揮新意，徊翔放肆，而出山樵幾無餘蘊」。語意極為推獎，而無過當之嫌。
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內容簡介（中文）
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王翬（1632–1717），字石谷，號耕煙散人、劍門樵客等。江蘇常熟人，少即善畫，得王鑑、王時敏指授，遊歷各地，揣摩名蹟而筆參古今。
此幀為石谷三十八歲之作，擬王蒙筆意，描繪秋日山林景色，主體山勢圓轉重疊，高聳突兀，山溪逶迤，漣漪陣起。佈局構景繁密，山勢深奇，植披濃密厚重，林木紅翠相間，秋光熠熠。惲南田評：「山樵幾無餘蘊」。翬從學弟子眾，世稱「虞山派」，畫風影響後世深遠。
(20120714)
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內容簡介（英文）
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Wang Hui (style name Shigu) was a native of Changshu, Jiangsu. As a youth he excelled at painting and was taught by Wang Jian and Wang Shimin. He also traveled and viewed famous artworks, his brushwork fusing old and new. This scroll from the Chinese age of 38 is patterned after Wang Meng’s style, depicting mountain forest scenery on an autumn day. The main peak bursts forth in the back, a stream winding through. The composition is dense and the mountains deep, the scenery lush with both green and red leaves, creating a shimming sense of autumn. Yun Shouping claimed it more than captured Wang Meng’s essence. Wang Hui studied a variety of sources and headed the Yushan School, his style having a great influence on later generations.
(20120714)
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內容簡介（英文）
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Wang Hui (style name Shih-ku; sobriquets Keng-yen San-jen, Wu-mu Shan-jen, Chien-men ch’iao-k’o, Ching-hui Chu-jen) was a native of Ch’ang-shu, Kiangsu. As a youth he excelled in painting, and he received instruction from Wang Chien and Wang Shih-min. He also had the opportunity to see the two Wangs’ collection of ancient masterpieces which he copied. He was thus skilled in both ancient and modern brush styles, and his painting style comprised the tradition of both northern and southern schools. He is one of the most skilled painters of the Ch’img dynasty. Wang Hui painted this highly-accomplished scroll when he was thirty-seven years old. Both Wang Shih-min and Yun Shou-p’ing saw this work and wanted to obtain it, but Wang Hui declined. The painting was after Wang Meng and has more than captured the Yuan master’s spirit. The inscription by Yun Shou-p’ing states that after eliminating all the stale tendencies from paintings in the Wang Meng style, Wang Hui expressed a new meaning. The brush moves as free and confidently as a bird, leaving little more for the master to add.
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