收藏著錄@#@石渠寶笈三編(延春閣),第六冊,頁2680-2682@#@@#@收藏著錄@#@故宮書畫錄(卷八),第四冊,頁162@#@@#@收藏著錄@#@故宮書畫圖錄,第二十九冊,頁52-59
@#@@#@內容簡介(中文)@#@據宋沈括﹝夢溪筆談﹞載,宋代詩人林逋生性淡泊,不趨榮利,嘗結廬西湖孤山,喜植梅蓄鶴,每有客至,必放鶴相迎。以逋終生未娶妻生子,人遂引「梅妻鶴子」稱頌之。
本幅選自「名人書畫合扇」冊第二十八幅,無款,原附籤作「梅花書屋」。幅中繪白梅沿溪遍植,丘壑間,并見喬松、翠竹、紅樹相參。高士數人,或於敞軒憑欄觀鶴,或於小亭閒憩望遠,一派隱居寧謐之氣洋溢滿紙,故知此作必有本於梅妻鶴子故實。
@#@@#@內容簡介(英文)@#@ According to Shen Kua’s Miscellaneous Notes from Meng-hsi (ca.1080), the Sung poet Lin P’u was by nature indifferent to worldliness and not inclined towards glory or wealth. He once had a hut built on Solitary Mountain at West Lake and was fond of planting plum trees and raising cranes. Whenever he had a visitor, he would have the cranes herded toward the guest to welcome him. Since Lin P’u never married or had any children, people praised him as having “plum trees for wives and cranes for children.”
This album leaf has no signature or inscription, but the original label reads “Plum Blossom Studio.” In the painting are white plum blossom trees planted along a stream. Among the hills and valleys one can also see together tall pines, emerald bamboo, and red trees. Several scholars are watching cranes from a spacious balcony or looking off into the distance from a small pavilion. The scene has an overflowing atmosphere of dwelling in serene and peaceful seclusion. Thus, we know this work must have been based on the above-mentioned account of “plum trees for wives and cranes for children.”