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石渠宝笈初编（养心殿），上册，页642
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故宫书画录（卷五），第三册，页52-53
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故宫书画图录，第一册，页213-214
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| 内容简介（中文） |
郭熙（西元一０二三－约一０八五年），河南温县人。画幅左侧中间有一行小字隶书款：「早春。壬子年郭熙画」，知此画作于一０七二年。「早春」是「谿山行旅」之后，北宋山水另一里程碑。范宽呈现出大自然庄严与永恒的特质，郭熙则捕捉山水在一年四季中不同的风貌和烟云变幻的气氛，他画山石多用「云头皴」，林木则以「蟹爪枝」见长。全幅烟岚浮动，暗示宇宙间无穷的生机。
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| 内容简介（英文） |
"Early Spring" is here conceived of as a mist and forestfilled mountain. The brushwork registers infinite variations of pressure and ink: the silhouette of the rocks and boulders are delineated with a heavy touch, the fog-washed trees with a light one. The washed work in harmony to express a complete idea of nature's forms under these seasonal conditions - with the tree-tops disappearing perceptibly into the vapor, their trunks still vigorously etched in darker ink. Such virtuosity, subtety, and assiduous attention to the details of expression have been urmatched by any of Kuo Hsi's followers, and this monument, dated 1072, stands as the painter's supreme masterpiece. Kuo Hsi, a native of Honan, served as an official in the Imperial Painting Academy. He excelled at landscapes and wintry forests, which were executed with complex formal compositions and profound content.
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Kuo Hsi (active late 11th century) came from Wen-hsien, Honan. He was a student (i-hsüeh) in the Painting Academy, specializing in landscapes and wintry trees. He was extremely skilful and profoundly original, and although he studied the style of Li Ch’eng he was also able to express his own feelings. On a large screen or high wall he would paint tall pines and large trees, winding streams and jagged promontories, lofty peaks and soaring cliffs, or high mountains gracefully rising, transformed or obliterated by mist and clouds and partially visible among them – he could render a thousand forms and myriad appearances. His mountain peaks were high and precipitous, his trees characterized by “crab-claw” branches, and his ink fairly dilute; his brushwork resembled that of cursive calligraphy, In his early years he concentrated on developing his skill, while in his later year his brushwork became increasingly strong. He wrote the Treatise on Landscape Painting (Shan-shui hua-lun) in which he said that one should study the near and far, the shallow and deep, the effects of wind and rain, light and shadow, and the changes of the seasons and times of day.
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郭熙（活动于十一世纪），河南温县人。神宗熙宁年间（1068-1077），为翰林图画院艺学，善画山水。著有《林泉高致》一书，是我国画史上讨论山水画的一部重要论著。 这幅画的主要景物集中在中轴线上，近景有大石和巨松，背后衔接中景扭动的山石，隔著云雾，两座山峰在远景突起，居中矗立，下临深渊，深山中有宏伟的殿堂楼阁。左侧平坡委迤，令人觉得既深且远。作者以粗阔扭曲的线条，描绘山石轮廓，再用干湿浓淡不同的墨色，层层皴擦出岩石表面的纹理，因为形状像卷曲的云块，所以称为「卷云皴」。树木枝干虬曲，枝桠像伸指布掌的样子，称为「蟹爪枝」，是承袭自宋初李成一系的特色。 画幅右侧画家自题：「早春。壬子（1072）年郭熙画。」顾名思义，这幅画作是在描写瑞雪消融，云烟变幻，大地复苏，草木发枝，一片欣欣向荣的早春景象。
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Kuo Hsi, a native of Honan province, entitled this work "Early Spring" and signed it "Painted by Kuo Hsi in the jen-tzu year (1072)." Coming after "Travelers Among Mountains and Streams" by Fan K'uan, this is one of the Museum's masterpieces of Northern Sung monumental landscape painting. Fan K'uan represented the solemn and eternal features of the mountains, while Kuo captured the essence of spring with his evanescent and atmospheric use of ink washes. With "cloud-head" texture strokes for the mountain forms and "crab-claw" ones for the trees, the landscape in this painting seems to almost pulsate, flow, and disappear (only to reappear again), suggesting the hidden forces of Nature and the cosmos at work.
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作于一○七二年的〈早春图〉，不仅是郭熙传世的代表作，也是山水画史中最重要的里程碑。郭熙在宋神宗时进入宫廷服务，正当王安石变法之际，官府殿阁的新建布置中，都使用了郭熙的山水。此作可能原来也是其中之一。 画中构图有著对称性的安排，但在秩序感中又充满著韵律的变化。而藉著墨色深浅所营造出来的光影效果，更为此山水增添了空间的奇幻。舟樵行旅等活动的加入，也进一步将此意境转化成一个生机处处，可游可居的神奇所在。这些表现都可以从他的《林泉高致》书中，得到理论上的印证。(20061206)
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Done in 1072, this is not only the finest representative work of the master Kuo Hsi, it is also one of the most important surviving milestones in the history of Chinese landscape painting. Under Emperor Shen-tsung, Kuo Hsi entered service at court, and during the government reforms of Grand Councilor Wang An-shih, his landscapes were used to furnish new government offices and halls. This painting may very well have been one of these works. The composition here is arranged in a symmetrical manner, but the sense of order still reveals variations full of rhythm and movement. In addition, the effect of light and dark achieved through the use of graded washes of ink also add considerably to the illusory effect of space in this landscape. The inclusion of such activities as boating, gathering firewood, and traveling takes the painting further in transforming this artistic vision into one full of life, a mystical realm where the viewer can travel and live. These forms of expression can also be found in Kuo Hsi’s notes on painting recorded in Lofty Ambitions Among Forests and Streams, making this work evidence of his theories.(20061206)
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画面左侧河谷上方款书「早春壬子年（1072）郭熙画」，上钤「郭熙笔」一印。郭熙，河阳温县人，活动于宋神宗朝（1067－1084），曾为朝廷官署内廷作画，享年八十余岁。
本幅为郭熙传世的重要代表作，成功地于巨大山水构图中展现春景生机。顺著画面中央轴线，蜿蜒布列的岩块、巨松、主山、远峰，连成充满能量的山体动势。其中运笔用墨更见巧思，细腻描绘画中的人物活动，营造出得以居游的景致。
(20110913)
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Along the left side of the painting is a signature that reads, “‘Early Spring’ painted by Guo Xi in the ‘renzi’ year (1072).” It also bears a seal for “Brushed by Guo Xi.” A native of Wenxian in Heyang, Guo Xi was active under Emperor Shenzong (r. 1067-1084) and did paintings for the court, living beyond the age of 80.
This is an important representative work surviving from the hand of Guo Xi, successfully expressing the vitality of a spring scene by means of a monumental landscape composition. Following the central axis of the painting, an array of rocky features, large pines, the main mountain, and distant peaks wind back and forth, connecting to create a dynamic mountain form filled with energy. The use of brush and ink here is even more skillful, the activities of figures in the painting done with delicacy to construct a fine scene where one can live and travel vicariously.
(20110913)
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郭熙（活动于西元十一世纪），河南温县人，神宗时为宫廷画师，早先曾经为京师几个重要的宫殿与寺庙绘制大型的屏风画或壁画，深受皇帝赏识，后来升迁为翰林图画院最高职位的「待诏」，制作了许多大型山水画。他擅长巨障长松，烟云变灭之景，山石用「卷云皴」，树木作「蟹爪」状，创为一派。
此图作于神宗熙宁五年（1072），是存世最著名之作。画上自题「早春」，顾名思义，画的是初春瑞雪消融，大地苏醒，草木发枝，一片欣欣向荣的景象。主要景物集中于中轴线上，近景大石与高大的松树，衔接中景「S」形的山石，隔著云雾，再起二峰，主峰居中，下临深渊，溪涧从谷间潺潺流下，深山中有宏伟的殿堂楼阁，悬崖上有草亭，背后衬以远山。左侧平坡委迤，遂觉有千里之遥。笔墨清润，构图综合高远、深远、平远法，呈现了可行，可望，可居，可游的理想山水。
(20110913)
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| 参考书目 |
陈韵如，〈宋郭熙早春图 轴〉，收入《公主的雅集-蒙元皇室与书画鉴藏文化特展》（台北：故宫博物院，2016.10），页100-107、270-271。
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| 参考书目 |
故宫博物院编辑委员会，〈宋郭熙早春图 轴〉，收入《故宫书画菁华特辑》（台北：故宫博物院，1996.10），页74-77。
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刘芳如、浦莉安、陈韵如，〈宋郭熙早春图 轴〉，收入《镇院国宝-范宽●郭熙●李唐》（台北：故宫博物院，2021.10），页72-103。
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