宋馬遠山水人物 軸 馬遠;Ma Yuan , 77.1x126.4

詳細資料

基本資料 藏品類型 繪畫
文物統一編號 故畫000846N000000000 抽盤點紀錄 修護紀錄
作品號 故畫00084600000
品名 宋馬遠山水人物 軸
Figures and Landscape
分類 繪畫
作者 馬遠;Ma Yuan
數量 一軸

典藏尺寸 【位置】 【尺寸】(公分)
本幅 77.1x126.4

質地 【質地位置】 【質地】
本幅

印記資料 【印記類別】 【印記】
鑑藏寶璽 宣統御覽之寶

主題 【主題類別】 【主題(第一層)】 【主題(第二層)】 【主題說明】
主要主題 山水 日景 夕陽
其他主題 人物 高士(士人、隱士)
其他主題 人物 侍從(侍女、童僕)
其他主題 建築 欄杆
其他主題 樹木
其他主題 山水 秋景
其他主題 花草 桂花

技法 【技法】 【技法細目】
皴法 斧劈皴

參考資料 【類別】 【參考資料】
收藏著錄 故宮書畫錄(卷五),第三冊,頁101
收藏著錄 故宮書畫圖錄,第二冊,頁173-174
參考書目 1.〈傳宋馬遠山水人物(元孫君澤)〉,收入陳階晉、賴毓芝主編,《追索浙派》(臺北:國立故宮博物院,2008年初版一刷),頁166。
內容簡介(中文) 本幅畫松蔭下,二人朝向懸崖對岸,分別做仰、俯動作,彷彿正練著吐納之術。山石用側筆橫刷的斧劈皴,松枝曲折挺勁,薄霧掩映,筆墨畫意甚具有南宋院體風貌。畫成時代約在元、早明之際。原可能是屏風,今裱成立軸型式。 馬遠(約活躍於1190-1224年),生長在職業畫師家庭,曾任南宋宮廷畫院的待詔。其山水畫,取景重心常偏於畫面上的一角,因此被稱為「馬一角」。
內容簡介(英文) This work shows 2 figures in the shade of pines overlooking mists and peaks. One looks up and the other bows down, almost as if practicing a ritual. The earthen forms here were done with axe-cut texture strokes using a slanted brush. The pine branches twist with force as they mingle in the thin mist. The brushwork has much of the Southern Sung academy manner, but this work was done in the 14th or early 15th century (between the Yuan and Ming dynasties). It also may have once been part of a screen that was trimmed into the present format. Ma Yuan, from a family of painters, served the Southern Sung court as a Painter-in-Attendance. He was known for his one-corner landscape compositions and hence was called “One-corner Ma”.
內容簡介(中文) 本幅畫松蔭下,二人朝向懸崖對岸,分別做仰、俯動作,彷彿正練著吐納之術。山石用側筆橫刷的斧劈皴,松枝曲折挺勁,薄霧掩映,筆墨畫意甚具有南宋院體風貌。畫成時代約在元、早明之際。原可能是屏風,今裱成立軸型式。 馬遠(約活躍於1190-1224年),生長在職業畫師家庭,曾任南宋宮廷畫院的待詔。其山水畫,取景重心常偏於畫面上的一角,因此被稱為「馬一角」。 (20121016)
內容簡介(英文) This work shows 2 figures in the shade of pines overlooking mists and peaks. One looks up and the other bows down, almost as if practicing a ritual. The earthen forms here were done with “axe-cut” texture strokes using a slanted brush. The pine branches twist with force as they mingle in the thin mist. The brushwork has much of the Southern Song academy manner, but this work was done in the 14th or early 15th century (between the Yuan and Ming dynasties). It also may have once been part of a screen that was trimmed into the present format. Ma Yuan, from a family of painters, served the Southern Song court as a Painter-in-Attendance. He was known for his one-corner landscape compositions and hence was called “One-corner Ma.” (20121016)

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