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Landscape Painting Album (4 pages) by Late Ming Dynasty Master Artist Cheng Zhengkui (1604-1676)
明末清初大書畫家程正揆(1604∼1676) 山水畫冊 (四頁)
Cheng Zhengkui [Ch’eng Cheng-k’uei; hao Juling, Qingxi Laoren]
(b Xiaogan, Hubei Province, 1604; d Hubei Province, 1676). Chinese painter and scholar-official. Cheng took the civil-service examinations to become a juren at the age of 21 and a jinshi seven years later. In 1631 he accepted an official position at the Ming court (1368–1644) in Beijing. While there he met Dong Qichang, the distinguished theorist and scholar, who is said to have tutored him in calligraphy and painting. A few years later, when Cheng resigned his post and tried to return to Hubei, he was seized by rebels but subsequently released. In 1642 he was called back to the capital to serve as Keeper of the Imperial Seals. Two years later he left Beijing to take a post in Nanjing but was again captured by rebel troops and briefly joined them. He eventually escaped and accompanied other Ming officials to Nanjing in support of the Prince of Fu. When Manchu forces took Nanjing in 1645, Cheng surrendered and joined the new government under the Qing dynasty (1644–1911). He rose to the position of Vice-president of the Board of Works but in 1657 was dismissed for a minor offence and returned to Hubei. In his last years Cheng studied Buddhism and Daoism.
Dream Journey among Rivers and Mountains Handscroll by Cheng Zhengkui-A permanent collection of The Cleveland Museum of Art
程正揆 (1604∼1676)
明萬曆32年甲辰(1604)9月初一日生, 清康熙15年丙辰(1676)73歲卒。
程正揆(1604∼1676)，明末清初畫家、書法家。初名正葵，字端伯，號鞠陵，別號清溪道人、青谿道人。歙縣人，早年寓居湖北孝感市，天?四年(1624)中舉，明崇禎四年(1631)中進士，任翰林院編修。崇禎八年(1635)，在鳳陽縣遇流寇襲擊，喪母。根據『孝感縣志』，程氏於丙子丁丑年(1636∼1637)之後，偕同家人移居南京，而且開始用青溪作為別號。崇禎15年(1642)任行人司正，後升任尚寶司卿。甲申(1644)年因公務由南京往滄州途中，遇清兵入關，逃回南京。明亡後，程氏曾加入南明政府內閣。入清後，歷任光俸祿寺院少卿、山西鄉試主考、官至工部右侍郎。順治帝對程氏之畫甚為欣賞，並賞賜御墨一軸以作表揚。順治14年(1657)免職還鄉。寓南京，寄情於書詩畫，悠然自得其樂。
程氏為明末清初“新安畫派” 鼎盛時期主要成員。程氏工山水，初學董其昌，崇尚元四家，以後博採眾長，潛心造化之妙，能夠獨出機杼，自成一家。作品多用禿筆，枯勁簡老，設色濃湛，隨意結構，任其自然。繪畫理論主張“畫貴減，不貴繁”，“非以境減，減以筆”。提出“足跡盡天下名山，眼界盡古人神髓”、“無一法，無非法”的創作方法。與髡殘(石谿) （1612－1673）為至友，與其並稱 “二谿”，又與顧大申、方亨鹹稱為“鼎足”。同時代的大宗師石濤對程氏畫藝也極為推崇，認為他有“過人之處”。程氏亦善書法，能詩文，書法吸收了唐代李邕和顏真卿的用筆結體特點，于平正中複追奇險，豐韻蕭然。
程氏亦好收藏古代法書名畫，尤其對元四家（黃公望、 吳鎮、 倪瓚、王蒙）的作品搜集不遺餘力，其主要收藏品有王維《江幹雪霽卷》，李唐《江山小景卷》，李成《山水圖》，李公麟《山莊圖卷》，周文矩《十八學士圖卷》，倪瓚《鶴林圖卷》，吳鎮《漁樂圖卷》，黃公望《秋林圖》、《九峰雪霽圖》，王蒙《惠麓小隱圖卷》、《贈後山湖山勝遊卷》、《紫芝山房圖》，趙孟頫《竹石圖卷》等。其收藏之精及豐，為同時代的大書畫家及收藏家董其昌所不及。
程氏死後，由其子程大皋將其詩文題跋收輯編成《青溪遺稿》28卷，於康熙54年乙未(1715)刻版行世。遺稿其中有相當部份是採自《江山臥遊圖》卷的題跋。
程氏繪畫作品以山水畫為主，形式多為手卷，最有特色的作品是從1649年開始創作的《江山臥遊圖》卷“Dream
Journey among Stream and Mountains Handscroll”，共畫了500多幅，獨創了在總題之下冠以眾多副題的形式進行師法造化的藝術形式，清人周亮工在《讀畫錄》中記載：程正揆計畫繪《臥遊圖》500卷，他親眼見到過300餘幅，大者過丈，小者僅尺餘，"造化入神"，系統地表現了畫家心境中映現的山水韻意。現有數幅藏於故宮博物院、東京國立博物館以及美國克利夫蘭美術館等處。