收藏著錄@#@故宮書畫錄(卷八),第四冊,頁163@#@@#@收藏著錄@#@故宮書畫圖錄,第三十冊,頁140-145@#@@#@參考書目@#@陳韻如;〈明米萬鍾層巒山居 成扇〉,收入何傳馨主編,《狀奇怪非人間 吳彬的繪畫世界》(臺北:國立故宮博物院,2012年十月初版),頁182-183。
@#@@#@參考書目@#@何傳馨,〈明賢墨妙 冊 明米萬鍾層巒山居〉,收入《狀奇怪非人間-吳彬的繪畫世界》(臺北:國立故宮博物院,2012.10),頁182-183、222。@#@@#@內容簡介(中文)@#@米萬鍾(約1554-1631),字仲詔,號友石、石隱、勺海亭長等。擅長書法,與董其昌並列,人稱「南董北米」。曾任官江南,結識吳彬,兩人交往密切。吳彬曾為其藏石、園林作圖。。米萬鍾山水畫因此受到吳彬風格影響。此開山體多細碎分塊的皴染,造型奇特就如吳彬山水造型。此畫作於甲寅年(1614),於其北京居所勺園海佃莊內。
(20121018)@#@@#@內容簡介(英文)@#@Mi Wanzhong (style name Zhongzhao; sobriquets Youshi, Shiyin, Shaohai tingzhang) specialized in calligraphy and was ranked with Dong Qichang as “Dong of the South and Mi of the North.” He served as an official in Jiangnan and met Wu Bin, the two of them close associates. In fact, Wu Bin once did paintings of Mi’s stone collection and garden. Mi Wanzhong’s landscape painting consequently was also influenced by that of Wu Bin. The mountain forms in this fan painting feature textured washes for the fragmented rocks, the unusual shapes similar to those of Wu Bin’s landscapes. This work was done in the equivalent of 1614 at Mi’s Beijing residence, Shaoyuan haixi Retreat.
(20121018)