《幽亭秀木图》轴，清，弘仁作，纸本，水墨，纵68cm，横50.4cm。
图中自题：“辛丑结夏澄观轩为作幽亭秀木图，奉岳生大居士教。渐江学人弘仁。”钤“弘仁”、“渐江”印。
“辛丑”为清顺治十八年(1661年)，受赠者名罗衮期，字岳生，安徽歙县呈坎人，是一位信奉佛教的儒生。图上有罗衮期小跋：“启悟师久慕渐江笔意，属予代索，遂以寄予者转赠之。”又有弘仁侄江注题诗“吾师漫写倪迂意，古木孤亭水石幽。优钵昙花题品在，禅门珍秘抗王侯。为启公题家师笔”。
作为明遗民画家，弘仁曾在民族危难之时挺身而出，参加抗清活动，明亡后，遁迹江湖，寄兴诗画。他眷怀故国，作诗曰：“偶将笔墨落人间，绮丽楼台乱后删。花草吴宫皆不问，独余残渖写钟山。”钟山是明太祖先元璋的陵墓所在地，此诗悲凉沉郁，感怀至深，表达了弘仁不忘故国的坚贞气节，正是这种情怀，使他的绘画倾向于倪瓒的风格，倪画中荒寒萧瑟的意境引起了他心灵的共鸣。此图是弘仁晚年居住在歙县五明寺时所作。画风为倪瓒的变格，作平远布局，近处坡岸茅亭，亭前后有松杉杂木高耸，略去浅水遥岑，使前景成为独立的主体，加强了山石结构的表现，产生较为平和的亲切感。画上坡石用笔为倪瓒独特的折带皴，若淡若疏，骨力内蕴。树木的勾勒点染也出之以简疏的笔法，中锋下笔，复笔皴擦，看似简淡，实含腴润。正如杨翰《归石轩画谈》评述的“于极瘦削处见腴润，极细弱处见苍劲，虽淡无可淡，而饶有余韵。”弘仁仿倪，绝不是以追求倪瓒的画法为目的，他广泛吸收前人的成果，取其意，而不在笔墨迹象间，师法倪瓒、黄公望，同时以自然为师，抒己胸臆，从而形成了其山水画的基本面貌。此画中亦可见一斑。
本幅经张大千收藏，左下角钤收藏印“大风堂”白文、“大千之宝”。
--------Introduction in English--------
"Youting Xiumutu" axis, Qing, Hongren, paper, ink, vertical 68 cm, horizontal 50.4 cm.
The self-titled picture: "Xin Uighur knots Xia Chengguanxuan as a beautiful wooden picture of Youting Pavilion, fengyuesheng Daju scholar religion. Hongren, a scholar of Jianjiang University. Jun "Hongren" and "Jianjiang" seals.
"Xin Chou" was the eighteenth year of Shunzhi in the Qing Dynasty (1661). The recipient was named Luo Fan Period. He was born in Ziyuesheng, Chengkan County, Anhui Province. He was a Confucian scholar who believed in Buddhism. The picture shows Luo Fanshi's short postscript: "The enlightenment master's long-standing desire to write gradually in the River belongs to Daishuo, and then he gives it to the sender." Another poem by Hongren and Nephew Jiang was inscribed: "My teacher writes circuitous, ancient wooden pavilions with quiet water and rocks." The theme of euphemism is in the Zen Gate, which is a secret anti-prince. Teach the pen for the publicist.
As a painter of Ming Dynasty, Hongren once stood up when the nation was in danger and participated in anti-Qing activities. After Ming Dynasty's death, he fled to rivers and lakes and sent poetry and paintings. He cherished his homeland and wrote poems: "I will write on the earth, after the chaos of the beautiful building deleted. The Wu Palace of Flowers and Grasses does not ask, and the remnants of the Wu Palace write about Zhongshan. Zhongshan is the site of the tomb of Yuan Zhang, the ancestor of the Ming Dynasty. This poem is sad, melancholy and deep-hearted. It expresses Hongren's loyalty to his native country. It is this feeling that makes his paintings tend to Ni's style. The desolate and bleak mood in Ni's paintings evokes the resonance of his soul. This picture was made when Hongren lived in Wuming Temple in Shexian in his later years. The style of painting is a variant of Ni Zan's, making a far-reaching layout, near the Maoting Pavilion on the slope bank, with pine and fir trees towering around the pavilion, leaving out the shallow water remote, making the prospects become an independent subject, strengthening the performance of the structure of mountains and rocks, and producing a more peaceful sense of intimacy. Painting the uphill stone with a pen is Ni Zan's unique folding band, if light, if sparse, bone connotation. The outline of the trees is also dyed with simple brushwork. The center writes and rubs the compound brushwork. It looks simple and moist. As Yang Han's Painting Talk on Guishixuan commented, "Run in thin places, vigor in weak places, though indifferent, but full of lingering charm." Hongren imitated Ni, not for the purpose of pursuing Ni Zan's painting. He widely absorbed the achievements of his predecessors and took his own ideas, not between the signs of pen and ink, but imitated Ni Zan and Huang Gongwang. At the same time, he took nature as his teacher and expressed his own mind, thus forming the basic features of his landscape painting. It can also be seen in this painting.
This piece is collected by Zhang Daqian and printed in Baiwen and Daqian Bao in the lower left corner of the collection.
