| 【类别】 | 【参考数据】 |
| 收藏着录 | 石渠宝笈三编（御书房），第七册，页3229-3236 |
| 收藏着录 | 故宫书画录（卷六），第四册，页273-281 |
| 收藏着录 | 故宫书画图录，第三十册，页272-285 |
| 内容简介（中文） | 程正揆（公元十七世纪），湖北孝感人，甲申后卜居江宁。初名正葵，崇帧辛未进士，顺治时改今名，字端伯，号鞠陵，又号青溪道人。山水得董其昌指授。 秃笔中锋，用墨枯淡，境亦幽僻，是程画中之精者。对开有龚贤题语，与僧髠残并推为二溪。谓髠残画如乱头粗服，程正揆画如玉骨水肌。 |
| 内容简介（英文） | Although Ch’eng Cheng-k’uel was originally a native of Hsiao-kan in Hupei province, he moved to the Kiangning area (Nanking) after the fall of the Ming dynasty in 1644. He received the chin-shih degree in 1631. He adopted the present name at the beginning of the Ch’ing dynasty. His tzu was Tuan-po and his hao were Chu-ling and Ching-his Tao-jen. He once studied landscape painting with Tung Ch’i-ch’ang (1555-1636). The artist has used a blunt brush and pale dry inks to execute this isolated scene. It is one of his finest works. Mounted with the landscape is a long eulogy by the painter Kung Hsien (d. 1689) who compares the work to that of the monk K’un-ts’an (fl. 17th century). Kung says K’un-ts’an’s paintings are like people with dishevelled hair and ill-kempt clothing, while Ch’eng’s like people with fine bones and fair complexion. |
| 内容简介（中文） | 程正揆（1604-1676），字端伯，别号青溪道人，湖北人，以山水画名擅一时。程正揆曾临〈富春山居图〉「无用师卷」，对黄公望推崇备至，画风深受影响。 此幅画山岩迭布，坡脚平台置一小亭，可随曲折河道远望。画中尖角状山形、山间平台等母题，以及浑厚的山体，均承自黄公望。此作秃笔中锋，用墨浅淡，画境幽僻，在近似黄公望山水面貌之余，另有一份清寂之感。 (清周亮工集名家山水册 第六开 20110609) |
| 内容简介（英文） | Cheng Zhengkui (style name Duanbo, sobriquet Qingxi daoren), a native of Hubei, was a famous landscape painter of his time. He once made a copy of the “Master Wuyong Version” of “Dwelling |
