Sunrise in a Misty Spring ForestHanging scroll, ink and color on silk, inscribed by the artist and signed Pu Songchuang with two artist's seals Pu Quan changshou and Pu Songchuang.15 3/8 x 12 3/4in (39 x 32.3cm) 溥佺 煙林春曉 設色絹本 立軸Provenance/來源:Far East Fine Arts, San Francisco, California, 1994加州舊金山遠東藝術中心，1994年Published/出版:Toda, Teisuke and Hiromitsu Ogawa comp. Comprehensive Illustrated Catalogue of Chinese Paintings, Third Series, Volume 1: American and Canadian Collections, University of Tokyo Press, 2013, A50-131, p. 212戶田禎佑、小川裕充，《中國繪畫總合圖錄》三編，第一卷，東京大學出版會，東京，2013年，A50-131，頁212Little, Stephen, and J. May Lee Barrett. New Songs on Ancient Tunes: 19th-20th Century Chinese Paintings and Calligraphy from the Richard Fabian Collection, Honolulu: Honolulu Academy of Arts, 2007, p. 517 Little, Stephen, J. May Lee Barrett,《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年，頁517Exhibited/展覽:New Songs on Ancient Tunes, Honolulu Art Academy, Honolulu, Hawaii, August 30-October 28, 2007《古調新歌：費立哲神父珍藏十九及二十世紀中國書畫》，檀香山藝術博物館，夏威夷，2007年8月30日至10月28日Pu Quan, who used the name Songchuang, he was a member of the Qing imperial family. His father Zai Ying, and brothers Pu Jin, Pu Jian, Pu Zuo were all competent painters. In 1928 he joined the Songfeng Painting Association, and in 1936 he became a member of the Chinese Painting Research Association, while he taught in the art department of Fu Jen Catholic University. After 1949, he worked as a researcher at the Central Research Institute of Culture and History, and a painter at the Beijing Art Academy.Although undated, this painting is likely to have been painted after 1949, when Pu Quan was a member of the Beijing Fine Art Academy. At that time, Pu Quan painted many works that were in keeping with the trends of the times, while incorporating the traditional style and techniques of Chinese painting, such as this one. 溥佺，字松窗，清宗室。父載瀛及兄溥伒、溥澗、弟溥佐皆擅畫。一九二八年入「松風畫會」，一九三六年參加中國畫學研究會，並任教於輔仁大學美術系。一九四九年後，任中央文史館館員、北京畫院畫師。雖無紀年，但本幅應是溥佺在1949年後任職北京畫院時期的作品。當時，溥佺創作了大量像這樣結合中國畫傳統技法而又符合時代潮流的作品。