Rivers and Hills Before Rain, today in the collection of the National Museum of China, is an ink landscape painting on paper made by Huang Gongwang (1269–1354) around the age of 70. With its composition of two land forms separated by water and its image of cloudy mountains, the handscroll can be seen as typical of literati landscape painting of the late Yuan Dynasty. This study examines the places where Huang Gongwang produced the painting in two stages, analyses his motive for writing the colophon, and the identities and situations of the two collectors. On this basis, it explores the question of site in late Yuan literati landscape painting as exemplified by this artwork. The discussion of site has three aspects: how the painting itself became a place that transcends time and space, allowing the painter to complete its production and inscription in different years and places; how the depicted landscape was recognised as a geographic site of return by different groups of literati; and how, through the adoption of specific styles, techniques and pictorial structures, Huang Gongwang produced an image of landscape as a site of order.

中國國家博物館藏《溪山雨意圖》是黃公望大約在他七十歲前後創作的一幅紙本水墨山水畫。手卷採用一河兩岸式構圖和雲山圖像，可作為元代晚期文人山水畫的典型代表。本文研究黃公望於前後兩個階段製作這幅畫的地點，分析他書寫題跋的動機，以及兩位收藏者的身份與境況，並以此為基礎探討該畫反映的元代晚期文人山水畫的場這一議題。這些問題涉及三個方面：畫作自身如何成為了一個超越時空的場，讓畫家能夠在不同時間和不同地點繪製與題寫它；其中描繪的山水如何在當時被不同的文人群體視作一個歸去的地理化地點；以及黃公望如何通過採用特定的風格技法和圖畫結構製作出一個作為秩序的場的山水形象。

Huang Gongwang; Rivers and Hills Before Rain; Yuan literati Painting

黃公望; 《溪山雨意圖》; 元代文人畫