張大千 溪山深秀

款識：
嶺梅以乾隆內庫紙數幅遠寄大吉嶺，因以董巨法為國培大兄寫此，逡巡未竟，既歸香島之三月，始點染成之，即希法教。辛卯夏，大千張爰。

鈐印：「張爰長壽」。

據藏家於一九七一年五月十四日筆錄之收藏清單，本幅以港幣七千元於香港購入

-Light foxing could be found on the painting, with small insect holes at the right edge, which could be improved by restoration. Otherwise, generally in good condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

註：一九四九年政權變易，大千攜妻女去國，避地香江，翌年初在羅家倫接待下，前往印度新德里舉行展覽，期間在當地考察石窟、遊覽名勝，是年五月，前往北部喜馬拉雅山南麓之大吉嶺，以當地山勢雄奇，景色宜人，深被吸引，遂決定在此地賃屋暫居。期間，與在港之友人魚雁相通，亦應囑作畫。因地遠人僻，幾無友朋往訪，羈旅寂寥，故潛心作畫，他有謂「在大吉嶺時期，是我畫多，詩多，工作精神最旺盛的階段……目力當時最佳，繪的也多精細工筆」，本幅即寫於此創作力旺盛之時。

畫中所見，岸渚晤舊，高談清曠，前臨溪水，密樹遍植，層巒積叠，雲氣、白練穿插其中，寬緊相濟，大千取法董巨筆墨寫之，復參合山樵法，長皴濃點，設色蒼鬱，入目處，一片江南秀色，正是其四十年代後期精研兩家技法融貫所得。尺幅或因應「內庫紙」尺寸，惟構圖規整，佈局縝密，自見氣度森嚴，具小中見大之勝！

從畫上所題，本幅非一時寫就，始於大吉嶺，完成於返香江之時，選用好友高嶺梅遠寄之「乾隆內庫紙」，佳楮發墨出色，皆符合其選材講究之要求，可見大千細意用功，非應付了事。畫家如此重視，可知求畫者國培，應屬在港好友，並嗜其藝， 千里之遙，仍求賜墨迹，復見編號1272之〈柳下高士〉，同屬寫贈國培，兩人早於四九年已訂交香江，兩畫或簡或繁，或淡墨或設色，或人物或山水，皆屬傑構，交情如何，自可想像。