《溪山无尽图》卷，清，龚贤作，纸本，墨笔，纵27.7cm，横726.7cm。
本幅自题款：“江东龚贤画。”钤“龚贤”、“野遗”。鉴藏印一，模糊不辨。
龚贤自书长跋于尾纸处：“庚申春，余偶得宋库纸一幅，欲制卷畏其难于收放，欲制册不能使水远山长。因命工装潢之，用册式而画如卷，前后计十二帧，每帧各具一起止；观毕伸之，合十二帧而具一起止，谓之折卷也可，谓之通册也可。然中间构思位置要无背于理，必首尾相顾而疏密得宜。觉写宽平易而高深难，非遍游五岳，行万里路者，不知山有本支而水有源委也。是年以二月濡笔 ,或十日一山，五日一石，闲则拈弄，遇事而辍，风雨晦冥，门无剥啄，渐次增加，盛暑祁寒又且高阁，谁来逼迫，任改岁时，逮今壬戍长至而始成，命之曰：溪山无尽图。忆余十三便能画，垂五十年而力砚田，朝耕暮获仅足糊口，可谓拙矣。然荐绅先生不以余之拙而高车驷马亲造荜门，岂果以枯毫残渖有贵于人间耶？顷挟此册游广陵，先掛船迎銮镇。于友人座上，值许葵庵司马邀余旧馆下榻授餐。因探余笥中之秘，余出此奉教。葵庵曰：‘讵有见米颠袖中石而不攫之去者乎？请月给米五石酒五斛以终其身如何？’余愧岭上白云堪自怡悦，何令谬加赞赏，遂有所要而与之。尤嘱葵庵幸为藏拙，勿使人笑君宝燕石而美青芹也。半亩龚贤记。”下钤“龚贤之印”、“半千”，迎首钤“半亩”。鉴藏印“吴兴沈翔云鉴藏书画印”。
作者在长跋中记述了此图创作的时间、构思、经过，以及如何受到许葵庵司马的赞赏等等。此外，还特地言明此图所用的纸是他在庚申（1680年）春偶得的宋代的库存旧纸，而如何合理地利用这种近似方形的画纸，令他颇费苦心。要将山水图绘在“折卷”或曰“通册”上，由看似各为独立的十二幅山水图合成一幅“山有本支而水有源委”，既合画理又合物理的画卷，无疑具有较高的创作难度。为此笔墨功力深厚的龚贤亦不得不“十日一山，五日一石”地潜心创作，历时二年多，才完成该幅力作。
全幅虽绘秋林草屋，流泉飞瀑等景象繁多，但穿插有致、有条不紊。留白处的虚与浓墨点染处的实互为映衬，画面饱满而又不失空灵。山石用“积墨法”，以笔含墨，层层积点石面，将山石向背虚实块面体积以及雨后的湿润之感都真实地表现出来。此卷生动地表现了江南溪山浑润丰华的景象，同时也较全面地体现了龚贤在山水画上“笔法健、墨气活、丘壑奇、气韵雄”的美学追求。
--------Introduction in English--------
"Infinite Maps of Xishan" Volume, Qing Dynasty, Gong Xian's Works, Paper, Ink, 27.7cm in length and 726.7cm in breadth.
This self-titled piece: "Jiangdong Gong Xian Painting." "Gong Xian" and "Wild Heritage" of Jun. The seal is indistinguishable.
Gong Xian wrote his own book long and trudged to the end of the paper: "Geng Shenchun, I occasionally got a piece of Songku paper, in order to make scrolls, it is difficult to collect them, to make books can not make water far and mountains long. In order to decorate by life, it is necessary to draw volumes in booklet format, with twelve frames in front and back, each of which ends in one frame; in view of the whole, it ends in twelve frames, which means folding or general booklet is also acceptable. However, if the position of the middle idea is not contrary to reason, it must be carefully and densely appropriately conceived. It is easy and difficult to write in a broad and profound way. Those who do not travel all over the Five Mountains and travel thousands of miles do not know that mountains have their own branches and water has their own committees. It is in February, or ten days, a mountain, five days, a stone, leisure is playing, and drop out of the event, dark wind and rain, door without peeling, gradually increasing, hot summer Qihan and Gaoge, who will force, Ren Ren, to catch the Ren Shu long and start, the fate is: Xishan endless map. Thirteen years later, I can draw pictures. Fifty years later, I worked hard in inkstone fields. I could only earn enough to live in the evening. However, if Mr. Jianjun did not spare no effort to build Qimen by himself, would he be more valuable than the rest of the world? He took this book to visit Guangling and first hung a boat to Yingyuan Town. At the table of friends, I was invited by Sima of Xukui'an to stay at Yu's old hall for dinner. As a result of exploring the secrets of the remnants, the remnants of this religion. Kwai An said,'What if you see the stone in the sleeve of rice and don't grab it? How about giving Miwu Shijiu Five Dendrobium monthly for a lifetime? Baiyun on the Yuguiling Mountains can be pleasant. He Lingmu appreciates it, so he has something to do with it. You wish Kui'an lucky to hide humble, do not make people laugh at Jun Baoyan stone and beautiful celery. Half an acre of Gong Xianji." Xiajun "Gong Xian's Seal" and "Half a Thousand" welcomed "Half a Mu" of Jun. "Wuxing Shenxiang Yunjian Bibliographic Seal".
In his long postscript, the author describes the time, conception, process of the creation of this picture, and how it was appreciated by Sima Xukui'an, etc. In addition, it is specifically stated that the paper used in this drawing was the old stock paper of the Song Dynasty which he occasionally acquired in the spring of Gengshen (1680). How to make rational use of this quadrate drawing paper made him quite painstaking. It is undoubtedly difficult to create a reasonable and reasonable picture scroll which is composed of twelve seemingly independent landscape maps on the "folded volume" or "general volume". For this reason, Gong Xian, who has a profound brush and ink skill, had to concentrate on his creation "ten days, one mountain, five days and one stone", which took more than two years to complete the masterpiece.
Although there are many scenes in the whole picture, such as autumn grass house, flowing spring and waterfall, they are interlaced in a delicate and orderly way. The emptiness of the blank space and the reality of the heavy ink dot are mutually contrasting, and the picture is full and empty. Mountain stones use "ink-accumulating method", with ink pen, layers of stone surface, the volume of rocks to the back of the virtual solid block surface and the feeling of wetness after rain are truly expressed. This volume vividly reflects the scenery of the rivers and mountains in the south of the Yangtze River, as well as Gong Xian's aesthetic pursuit of "vigorous brushwork, vigorous ink, Qiu Qiqi and vigorous charm" in landscape painting.
