| 【類別】 | 【參考資料】 |
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收藏著錄
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石渠寶笈初編（養心殿），上冊，頁642
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收藏著錄
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故宮書畫錄（卷五），第三冊，頁52-53
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收藏著錄
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故宮書畫圖錄，第一冊，頁213-214
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參考書目
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1.何傳馨，〈宋郭熙早春圖〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁74-77。
2.許郭璜，〈宋郭熙早春圖〉，收入《李郭山水畫系特展》（臺北：國立故宮博物院，1999年初版），頁1-4。
3.〈宋郭熙早春圖〉，收入國立故宮博物院編輯委員會編，《春景山水畫特展圖錄》（臺北：國立故宮博物院，1987年一月初版），頁46。
4.陳韻如，〈宋郭熙早春圖 軸〉，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72-77。
5.陳韻如，〈早春圖〉，收入林柏亭主編，《國寶菁華 — 書畫‧圖書文獻篇》（臺北：國立故宮博物院，2006年12月），頁197。
6.〈宋郭熙早春圖〉，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224。
7.何傳馨，〈國之重寶 — 書畫精萃特展〉，《故宮文物月刊》，第19期（1984年10月），頁20。
8.高木森，〈郭熙「早春圖」有一半是裱工偽造的劣蹟嗎？ — 評徐小虎的「表面之下 — 補筆之研究」〉，《故宮文物月刊》，第117期（1992年12月），頁76-93。
9.江兆申，〈山鷓棘雀、早春與文會(談故宮三張宋畫)〉，《故宮季刊》，第十一卷第四期（1977年夏），頁13-21。
10.李霖燦，〈山水畫中點景人物的斷代研究〉，《故宮季刊》，第十三卷第二期（1978年冬），頁25-40。
11.李霖燦，〈故宮博物院的名畫寶藏(上)〉，《故宮季刊》，第十三卷第四期（1979年夏），頁69-83。
12.陳葆真，〈從空間表現法看南宋小景山水畫的發展〉，《故宮學術季刊》，第十三卷第三期（1996年春），頁83-117。
13.沈以正，〈由郭熙與張擇端探討對北宋繪畫創作的理念與技法〉，《中華民國建國八十年中國藝術文物討論會論文集 書畫(上)》（臺北：國立故宮博物院，1992），頁33-44。
14.《郭熙早春圖》（台北：國立故宮博物院，1980）。
15.小川裕充，〈「院中名畫」--從董羽、巨然、燕蕭到郭熙〉，《藝術學》，第23期(2007年1月)，頁229-308。
16.朱淑媛，《北宋郭熙繪畫觀研究》，中國文化學院藝術研究所碩士論文，1979年。
17.楊元錚，〈談耿昭忠與安岐的兩方"珍祕"印〉，《故宮博物院院刊》，總第141期(2009年第1期)，頁60-63。
18.陳韻如，〈宋郭熙早春圖〉，收入蔡玫芬主編，《精彩一百 國寶總動員》（臺北：國立故宮博物院，2011年九月初版一刷），頁262。
19.賴國生；〈院藏高劍父山水圖賞析〉，《故宮文物月刊》，第356期（2012年11月份），頁116-126。
20.陳韻如；〈兩宋山水畫意的轉折──試論李唐山水畫的畫史位置〉，《故宮學術季刊》，第二十九卷第四期（2012年夏），頁75-107。
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參考書目
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陳韻如，〈宋郭熙早春圖 軸〉，收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》（臺北：國立故宮博物院，2016.10），頁100-107、270-271。
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參考書目
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國立故宮博物院編輯委員會，〈宋郭熙早春圖 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁74-77。
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參考書目
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劉芳如、浦莉安、陳韻如，〈宋郭熙早春圖 軸〉，收入《鎮院國寶-范寬．郭熙．李唐》（臺北：國立故宮博物院，2021.10），頁72-103。
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內容簡介（中文）
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作於一○七二年的〈早春圖〉，不僅是郭熙傳世的代表作，也是山水畫史中最重要的里程碑。郭熙在宋神宗時進入宮廷服務，正當王安石變法之際，官府殿閣的新建布置中，都使用了郭熙的山水。此作可能原來也是其中之一。 畫中構圖有著對稱性的安排，但在秩序感中又充滿著韻律的變化。而藉著墨色深淺所營造出來的光影效果，更為此山水增添了空間的奇幻。舟樵行旅等活動的加入，也進一步將此意境轉化成一個生機處處，可遊可居的神奇所在。這些表現都可以從他的《林泉高致》書中，得到理論上的印證。(20061206)
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內容簡介（中文）
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畫面左側河谷上方款書「早春壬子年（1072）郭熙畫」，上鈐「郭熙筆」一印。郭熙，河陽溫縣人，活動於宋神宗朝（1067－1084），曾為朝廷官署內廷作畫，享年八十餘歲。
本幅為郭熙傳世的重要代表作，成功地於巨大山水構圖中展現春景生機。順著畫面中央軸線，蜿蜒布列的岩塊、巨松、主山、遠峰，連成充滿能量的山體動勢。其中運筆用墨更見巧思，細膩描繪畫中的人物活動，營造出得以居游的景致。
(20110913)
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內容簡介（中文）
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郭熙（西元一０二三－約一０八五年），河南溫縣人。畫幅左側中間有一行小字隸書款：「早春。壬子年郭熙畫」，知此畫作於一０七二年。「早春」是「谿山行旅」之後，北宋山水另一里程碑。范寬呈現出大自然莊嚴與永恆的特質，郭熙則捕捉山水在一年四季中不同的風貌和煙雲變幻的氣氛，他畫山石多用「雲頭皴」，林木則以「蟹爪枝」見長。全幅煙嵐浮動，暗示宇宙間無窮的生機。
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內容簡介（英文）
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"Early Spring" is here conceived of as a mist and forestfilled mountain. The brushwork registers infinite variations of pressure and ink: the silhouette of the rocks and boulders are delineated with a heavy touch, the fog-washed trees with a light one. The washed work in harmony to express a complete idea of nature's forms under these seasonal conditions - with the tree-tops disappearing perceptibly into the vapor, their trunks still vigorously etched in darker ink. Such virtuosity, subtety, and assiduous attention to the details of expression have been urmatched by any of Kuo Hsi's followers, and this monument, dated 1072, stands as the painter's supreme masterpiece. Kuo Hsi, a native of Honan, served as an official in the Imperial Painting Academy. He excelled at landscapes and wintry forests, which were executed with complex formal compositions and profound content.
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內容簡介（英文）
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Kuo Hsi (active late 11th century) came from Wen-hsien, Honan. He was a student (i-hsueh) in the Painting Academy, specializing in landscapes and wintry trees. He was extremely skilful and profoundly original, and although he studied the style of Li Ch’eng he was also able to express his own feelings. On a large screen or high wall he would paint tall pines and large trees, winding streams and jagged promontories, lofty peaks and soaring cliffs, or high mountains gracefully rising, transformed or obliterated by mist and clouds and partially visible among them – he could render a thousand forms and myriad appearances. His mountain peaks were high and precipitous, his trees characterized by “crab-claw” branches, and his ink fairly dilute; his brushwork resembled that of cursive calligraphy, In his early years he concentrated on developing his skill, while in his later year his brushwork became increasingly strong. He wrote the Treatise on Landscape Painting (Shan-shui hua-lun) in which he said that one should study the near and far, the shallow and deep, the effects of wind and rain, light and shadow, and the changes of the seasons and times of day.
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內容簡介（英文）
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Along the left side of the painting is a signature that reads, “‘Early Spring’ painted by Guo Xi in the ‘renzi’ year (1072).” It also bears a seal for “Brushed by Guo Xi.” A native of Wenxian in Heyang, Guo Xi was active under Emperor Shenzong (r. 1067-1084) and did paintings for the court, living beyond the age of 80.
This is an important representative work surviving from the hand of Guo Xi, successfully expressing the vitality of a spring scene by means of a monumental landscape composition. Following the central axis of the painting, an array of rocky features, large pines, the main mountain, and distant peaks wind back and forth, connecting to create a dynamic mountain form filled with energy. The use of brush and ink here is even more skillful, the activities of figures in the painting done with delicacy to construct a fine scene where one can live and travel vicariously.
(20110913)
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內容簡介（英文）
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Done in 1072, this is not only the finest representative work of the master Kuo Hsi, it is also one of the most important surviving milestones in the history of Chinese landscape painting. Under Emperor Shen-tsung, Kuo Hsi entered service at court, and during the government reforms of Grand Councilor Wang An-shih, his landscapes were used to furnish new government offices and halls. This painting may very well have been one of these works. The composition here is arranged in a symmetrical manner, but the sense of order still reveals variations full of rhythm and movement. In addition, the effect of light and dark achieved through the use of graded washes of ink also add considerably to the illusory effect of space in this landscape. The inclusion of such activities as boating, gathering firewood, and traveling takes the painting further in transforming this artistic vision into one full of life, a mystical realm where the viewer can travel and live. These forms of expression can also be found in Kuo Hsi’s notes on painting recorded in Lofty Ambitions Among Forests and Streams, making this work evidence of his theories.(20061206)
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網頁展示說明
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郭熙（活動於西元十一世紀），河南溫縣人，神宗時為宮廷畫師，早先曾經為京師幾個重要的宮殿與寺廟繪製大型的屏風畫或壁畫，深受皇帝賞識，後來升遷為翰林圖畫院最高職位的「待詔」，製作了許多大型山水畫。他擅長巨障長松，煙雲變滅之景，山石用「卷雲皴」，樹木作「蟹爪」狀，創為一派。
此圖作於神宗熙寧五年（1072），是存世最著名之作。畫上自題「早春」，顧名思義，畫的是初春瑞雪消融，大地甦醒，草木發枝，一片欣欣向榮的景象。主要景物集中於中軸線上，近景大石與高大的松樹，銜接中景「S」形的山石，隔著雲霧，再起二峰，主峰居中，下臨深淵，溪澗從谷間潺潺流下，深山中有宏偉的殿堂樓閣，懸崖上有草亭，背後襯以遠山。左側平坡委迤，遂覺有千里之遙。筆墨清潤，構圖綜合高遠、深遠、平遠法，呈現了可行，可望，可居，可游的理想山水。
(20110913)
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網頁展示說明
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郭熙（活動於十一世紀），河南溫縣人。神宗熙寧年間（1068-1077），為翰林圖畫院藝學，善畫山水。著有《林泉高致》一書，是我國畫史上討論山水畫的一部重要論著。 這幅畫的主要景物集中在中軸線上，近景有大石和巨松，背後銜接中景扭動的山石，隔著雲霧，兩座山峰在遠景突起，居中矗立，下臨深淵，深山中有宏偉的殿堂樓閣。左側平坡委迤，令人覺得既深且遠。作者以粗闊扭曲的線條，描繪山石輪廓，再用乾溼濃淡不同的墨色，層層皴擦出岩石表面的紋理，因為形狀像捲曲的雲塊，所以稱為「捲雲皴」。樹木枝幹虯曲，枝椏像伸指布掌的樣子，稱為「蟹爪枝」，是承襲自宋初李成一系的特色。 畫幅右側畫家自題：「早春。壬子（1072）年郭熙畫。」顧名思義，這幅畫作是在描寫瑞雪消融，雲煙變幻，大地復甦，草木發枝，一片欣欣向榮的早春景象。
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網頁展示說明
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Kuo Hsi, a native of Honan province, entitled this work "Early Spring" and signed it "Painted by Kuo Hsi in the jen-tzu year (1072)." Coming after "Travelers Among Mountains and Streams" by Fan K'uan, this is one of the Museum's masterpieces of Northern Sung monumental landscape painting. Fan K'uan represented the solemn and eternal features of the mountains, while Kuo captured the essence of spring with his evanescent and atmospheric use of ink washes. With "cloud-head" texture strokes for the mountain forms and "crab-claw" ones for the trees, the landscape in this painting seems to almost pulsate, flow, and disappear (only to reappear again), suggesting the hidden forces of Nature and the cosmos at work.
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