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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2056
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收藏著錄
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故宮書畫錄（卷六），第四冊，頁210
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收藏著錄
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故宮書畫圖錄，第三十冊，頁34-39
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參考書目
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劉芳如，〈宋人合璧畫冊 冊 宋燕文貴奇峰萬木〉，收入《國寶的形成-書畫菁華特展》（臺北：國立故宮博物院，2017.10），頁68-71、305。
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參考書目
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何傳馨，〈宋人合璧畫冊 冊 宋燕文貴奇峰萬木〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁180-181、357-358。
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參考書目
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1.何傳馨，〈宋燕文貴奇峰萬木〉，收入何傳馨、許郭璜編，《夏景山水畫特展圖錄》（臺北：國立故宮博物院，1991年七月初版），頁92。
2.何傳馨，〈燕文貴奇峰萬木〉，收入國立故宮博物院編，《宋代書畫冊頁名品特展》（臺北：國立故宮博物院，1995年初版一刷），頁256。
3.陳韻如，〈宋人合璧畫冊 冊 宋燕文貴奇峰萬木〉，收入林柏亭主編，《大觀-北宋書畫特展》（臺北：國立故宮博物院，2006年初版一刷），頁110-111。
4.〈宋燕文貴奇峰萬木〉，收入國立故宮博物院編輯委員會編，《名寶上珍》（臺北：國立故宮博物院，1995年初版一刷），頁212。
5.本社，〈北宋燕文貴奇峰萬木〉，《故宮文物月刊》，第53期（1987年8月），頁1。
6.許郭璜，〈宋燕文貴奇峰萬木〉，《故宮文物月刊》，第200期（1999年11月），頁34。
7.陳韻如，〈奇峰萬木〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁357-358。
8.廖堯震，〈微醺西湖畔，對影六七幅 南宋小景山水的詩情畫境〉，《典藏古美術》，第217期(2010年10月)，頁102-109。
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內容簡介（中文）
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燕文貴（西元九六七至一○四四年），浙江吳與人。原隸軍中，太宗朝退伍，在京師（河南開封）隨郝惠學書，被畫院待詔高益發掘，薦入朝廷，補圖畫院祗侯。善畫山水、人物、舟車，尤善於畫四季景物，清雅可愛，號為「燕家景」。 高山景色，遠山皆在雲氣之上，近景祇露山巔。畫山畫樹，筆法與院藏李唐江山小景卷甚為接近。惟樹木幹與葉之用筆，及設色情況，較江山小景卷稍覺柔和。當係屬同一畫風之作品。為宋人合璧畫冊中之一開。
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內容簡介（中文）
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此作簽題舊稱「燕文貴奇峰萬木」，但實與李唐風格相近。畫面以青綠設色繪三組山體，間隔以雲霧留白。畫幅右下為近景，以數峰相接組而成，畫幅左側為中景，僅見垂直尖瘦的數個山峰，下半則留白表現煙雲；再遠處，又有藉墨染勾勒輪廓而成的遠山。
此畫恰可視為〈萬壑松風〉與〈江山小景〉之間的轉折點。三組山體巧妙呼應，又有留白的雲霧加以襯托，畫面尺幅雖小卻別具遠眺遼闊效果。(20101015)
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內容簡介（中文）
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此一高山景色，遠山皆在雲氣之上，近景祇露山巔。其筆法與院藏李唐〈江山小景卷〉甚為接近，且更顯露年代較早的面貌。特別是在山石塊面的分割，利用更多皴染來經營質面。 畫無款印，現代學者大多認為是李唐（約1070－1150），或南宋學李唐者的作品，與活動於北宋時期的院畫家燕文貴（活動於十世紀後半－十一世紀前半）無關，舊籤題不確。可能是南宋初，受李唐影響的畫家的精心之作。(20061206)
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內容簡介（英文）
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In this scenery of tall mountains, the distant peaks appear floating among the clouds and mist as a mountaintop protrudes in the foreground. The brushwork is quite similar to that of “Landscape” by Li T'ang also in the National Palace Museum collection and suggests the appearance of an even earlier style. In particular, the division of the surfaces of the rock forms in the mountains reveals even more washes to create the texture. The painting bears no seal or signature of the artist, but modern scholars generally believe it is a work by Li T'ang (ca. 1070-1150) or a Southern Sung painting in his style. In either case, it is mostly likely unrelated to the Northern Sung court painter Yen Wen-kuei. Thus, ignoring the traditional label given to this work, it might be of the early Southern Sung and representing the painstaking effort of an artist influenced by Li T'ang.(20061206)
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內容簡介（英文）
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This work bears an old label that reads, “Strange Peaks and Myriad Trees by Yan Wengui,” though the style is actually closer to that of Li Tang. Three sets of mountain forms separated by blank areas representing clouds have been depicted in blue-and-green coloring and distributed in the surface of the painting. The foreground is in the lower right and consists of several peaks connected to form a group. The cluster to the left forms the middleground, with only a few spindly peaks depicted and their bases completely enshrouded in clouds. In the far distance are some mo untains that have been outlined using washes of ink.
This work can be viewed as a turning point from Li Tang’s “Wind in Pines Among a Myriad Valleys” to “Intimate Scene of Rivers and Mountains” in the latter half of the twelfth century. The three sets of mountains here clever echo each other and are set off against the blank areas representing clouds and mists. Despite the small surface of the painting, it still conveys a sense of expansiveness and distance.(20101015)
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內容簡介（英文）
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Yen Wen-kuei came from the Wu-hsing district of Chekiang, During the reign of Emperor T'ai-tsung (967-998) he was discharged from military service and started to learn painting under Ho Hui. His abilities were noticed by the academician Kao I, who then introduced him at court. Yen was then appointed an attendant in the Painting Academy. He was a capable landscapist, and also depicted figures, animals, boats and vehicles. However, he specialized in painting the four seasons. His style was refined, delicate and charming, and he was given the nickname "Master Yen the Landscapist." In this scene of lofty mountains, the distant peaks are seen emerging above the clouds, while only the very tops of the foreground mountains are visible. The method of painting mountains and trees is very similar to that found in Li T'ang's (1049-1130) handscroll "Small Scene of River and Mountains." but the rendering of the tree trunks and branches and the use of color are softer in this album leaf. "Strange Peaks and Myriad Trees" is a leaf in the album Sung-jen ho-pi hua, where it is labeled as a painting by Yen Wen-kuei.
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研究性論著
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本幅畫高山景色，近景由主山與兩側坡石構成，岩石向兩側與前方開面，以橫斜方向的皴擦，表現不同的質地和凹凸深淺的層次。其上林木蓊鬱，因在高山之上，盡是松杉一類的針葉木，間雜幾株深墨密點之樹，幽深鬱密，若層層屏障，高低參差，與遠山遙相呼應。遠山都在雲氣之上，左側群峰聳峙，如列柱插天，右側對應前景山凹處，再起數峰，漸遠漸小漸淡，而有無窮深遠之勢。
畫無款印，現代學者大多認為是李唐（約1049--1130），或南宋學李唐者的作品，與活動於北宋時期的院畫家燕文貴（約967 --1044）無關，舊籤題不確。（註）從山石的造形，樹法，點苔來看，與本院藏李唐的名作「江山小景」相似，不過染色較淡，墨筆皴擦歷歷可見，勾勒山石輪廓及畫樹點葉的用筆較為柔和，可能是南宋初，受李唐影響的畫家的精心之作。
燕文貴，浙江吳興人，北宋前期畫院畫家，長於山水，兼善人物、界畫。山水多作巨嶂高壁，人物，樓觀布置精巧，號為「燕家景」。
（註）參見James Cahill, Chinese Painting, （Geneva: Skira, 1960 ）,p.40 。鳩田英誠，〈燕文貴之傳稱作品〉，《美術史》，101 號（1976），頁47。鈴木敬著，魏美月譯，〈試論李唐南渡後重入畫院及其畫風之演變（下）〉，《故宮季刊》，第十七卷第四期（1983），頁72--73。
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