《灵岩山图》卷，清，恽寿平作，纸本，墨笔，纵20.7厘米，横107.2厘米。
本幅署款：“毗陵弟子惲格畫並題。”右上方自识：“先香山翁曾爲和尚寫靈岩圖，題其幀首曰:‘此山之趣在背，寺之趣在面，水之趣在天，蓋以側面取勢，令湖光出其上。'惜此圖逸去，無從懸購，今追用此語直寫正峰，自落紅亭以上剪取芙蓉城一片爾，而全形具焉。如須彌山七寶所成，上下四旁，各具一種色，色色不同，所見皆須彌也。呈老和尚鑒之。毗陵弟子畫並題。”
又自识：“昔黃子久畫富春山卷，頗自矜貴，攜行簦曆數年而後成。頃來山中鏡清樓上，灑墨立就，曾無停慮，工乃貴遲拙，何取速，筆先之意深愧于古人矣。壽平格又跋。”钤“正叔”。引首清弘储题诗，钤“ 中吳研山簡石”等印7方。后幅清明昙等6家题跋，钤“西蠡經眼”等印14方。
清康熙三年（1664年）二月上浣，31岁的恽寿平随父亲明昙云游苏州，拜访了当地著名的灵岩山禅寺住持弘储，时值弘储60寿诞，恽寿平潜心作此图，其父撰《灵岩山赋》，以示恭贺。恽寿平的山水画作品有许多是根据游历所见而创作的写生之作。这些作品，并非是对自然物象作纯客观的描绘，而是根据自己的创作需要进行主观上的审美取舍、提炼、概括等。此图重点表现的是灵岩山，作者便运用远近、疏密、高低互衬的美学原理，将灵岩山两侧的景致作陪衬性的淡化处理，由此更好地表现主题，烘托出灵岩山的空灵秀色。此幅当属恽寿平写景山水画中形式美与意韵美相得益彰的典型之作。
--------Introduction in English--------
"Lingyan Mountain Map" Volume, Qing Dynasty, Yun Shouping, paper, ink, vertical 20.7 cm, horizontal 107.2 cm.
The signature of this painting: "Piling disciple Yun Ge painted the same title." The upper right self-awareness: "Xiangshan Weng once wrote Lingyan maps for monks, and wrote the first frame:"The interest of the mountain is on the back, the interest of the temple is on the surface, and the interest of the water is in the sky, covering the side to take advantage of power, so that the lake shines out of it. It's a pity that this picture has escaped and there's no way to buy it. Now I use this phrase to write Zhengfeng directly. I cut a piece of Furong City from above Luohongting Pavilion, but it's full-shaped. If the seven treasures of Xumi Mountain are made, there is one color on each side, and the color is different. Everything you see must be filled. Presenting the old monk to learn from it. Piling disciples painted the same title.
Also self-conscious: "Huang Zijiu painted Fuchun Mountain Scrolls in the past, quite self-respectful, carrying hairpins for several years and later. When he came to the mountain, he sprinkled ink on the stairs. He had no hesitation. His work was expensive, slow and clumsy. How to speed up his work? He was deeply ashamed of the ancients'idea of "pen first". Shou Ping Ge is a postscript. Jun "Zheng Shu". Initiating Qing Hongchu's inscribed poems, Jun's "Zhongwu Yanshan bamboo slips" and other printed seven parties. Six inscriptions and postscripts, including Qing Mingxin in the latter part, and 14 inscriptions such as "Xili Jing Eye" in Jun.
Yun Shouping, 31, traveled to Suzhou with his father Ming Xinyun in February of the third year of Emperor Kangxi's reign in the Qing Dynasty (1664). He visited Hongchu, the local famous abbot of Lingyan Mountain Zen Temple. On the 60th birthday of Hongchu, Yun Shouping devoted himself to making this picture. His father wrote "Fu of Lingyan Mountain" to congratulate him. Many of Yun Shouping's landscape paintings are sketches based on what he saw during his travels. These works are not purely objective descriptions of natural objects, but subjective aesthetic choices, refinements and generalizations according to their own creative needs. This picture focuses on Lingyan Mountain. The author uses the aesthetic principles of distance, density and interlinking height to desalinate the scenery on both sides of Lingyan Mountain, thus better expressing the theme and setting off the spiritual beauty of Lingyan Mountain. This painting should be a typical work of Yun Shouping's landscape painting, in which formal beauty and artistic beauty complement each other.
