| 參考資料 |
【類別】 |
【參考資料】 |
|
收藏著錄 |
石渠寶笈初編（御書房），下冊，頁1077
|
|
收藏著錄 |
故宮書畫錄（卷四），第二冊，頁288-289
|
|
收藏著錄 |
故宮書畫圖錄，第二十一冊，頁273-280
|
|
參考書目 |
1.林莉娜，〈宋高宗畫女孝經馬和之補圖〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁104-109。
2.馬孟晶，〈宋人女孝經圖（舊傳馬和之畫高宗書）〉，收入劉芳如、張華芝主編，《群芳譜 — 女性的形象與才藝》（臺北：國立故宮博物院，2003年初版一刷），頁104-105。
3.劉芳如，〈宋高宗書女孝經馬和之補圖〉，收入國立故宮博物院編輯委員會編，《仕女畫之美》（臺北：國立故宮博物院，1988年四月初版），頁77。
4.譚怡令 ，〈百善孝為先：宋高宗書女孝經馬和之補圖〉，《故宮文物月刊》，第2期（1983年5月），頁79-83。
5.林莉娜，〈高宗書女孝經馬和之補圖〉，《故宮文物月刊》，第163期（1996年10月），頁60-61。
6.童文娥，〈《女孝經圖》圖文位置的重建〉，《故宮文物月刊》，第265期（2005年4月），頁20-41。
|
|
內容簡介（中文） |
馬和之，錢塘（今杭州）人。高宗紹興（西元一一三一至一一六二年）中登第，高、孝宗兩朝深重其畫。善山水、人物，筆法飄逸，務去華藻，自成一家。 【女孝經】闡述孝之真義與婦女之各種行為規範。畫中筆墨，並不十分近似馬和之，倒有馬麟之意；且幅前所謂高宗題字，實較近於理示，故宜易名為「宋人書畫女孝經」。
|
|
內容簡介（英文） |
Ma Ho-chih, a native of Ch'ien-t'ang(modern Hangchow), served as Vice Minister of the Ministry of Works. Noted for his fine brushwork and his effort to rid his painting of showy elements, he succeeded in creating his own style and was famous for his landscape and figure painting. The Ladies' Book of Filial Piety is a text that elaborates on the significance of piety and explains the standards of behavior expected of women. Stylistically, the brushwork of this illustrated transcription more closely resembles that of the 13th-century painter Ma Lin. Furthermore, the calligraphy is more in the style of that of Emperor Li-tsung(r.1225-1264). Therefore, this should more appropriately be considered a late Sung work.
|
|
內容簡介（中文） |
《女孝經》為唐朝侯莫陳(複姓)邈(名)之妻鄭氏因姪女策封為永王妃，恐其未熟悉詩禮，作此經計十八章以獻之，藉以誡告其為婦之道。全文仿《孝經》形制所寫，是封建時代執政者為維護其統治地位，所作教化女姓的禮教經典。全文藉著曹大家的名義，闡述孝道的意義和各種女性禮儀規範。本幅即依《女孝經》的文意所繪，然僅餘九章。全卷依一文一圖形式裝裱而成，每一段皆文前圖後。構圖上以庭院景為主，庭園中的樹石、迴廊、敞軒成為每一段畫面的邊框，中央部份人物穿插其間，構組成文意情節。圖中樹木線條挺健，樹根顯露虯曲，樹枝堅挺拖曳；園石採大斧劈皴兼用淡墨染擦，皆取法自馬遠、夏圭。畫中人物形體鉤勒細謹，面容清雅秀緻，衣紋線條多採「釘頭鼠尾描」，全卷用筆細謹、敷彩雅淡。此圖標名為南宋高宗、孝宗時人馬和之所作。馬和之是高宗紹興年間(一一三一─一一六二)進士，浙江人。善畫人物佛像，高宗深重其畫，每書《毛詩》三百篇，令其圖寫。然而細觀此卷，畫風更趨近於南宋末的院畫家馬遠、馬麟的風格；而本卷楷書定名為高宗所寫，書體實亦接近宋理宗，故此卷或可訂名為<宋人書畫女孝經>為當。
|
|
內容簡介（英文） |
Ma Ho-chih, a native of Hangchow, was a civil service graduate and served as Vice Minister of Works. Noted for his fine brushwork and scholarly style, he had a unique style of painting. Emperor Kao-tsung, a gifted calligrapher in his own right, appreciated Ma's style and commissioned him to create illustrations of the classics. “The Ladies’ Book of Filial Piety” is a text written in the T’ang dynasty (618-907) by the wife of nobleman whose daughter was promoted to the status of princess. Fearing that her daughter would be unfamiliar with rules of propriety, she composed this text of eighteen chapters based on the classic “Book of Filial Piety” as a means of instruction. Thus, the text elaborates on the standards of behavior expected of court ladies. This handscroll originally had 18 sections, but now only nine survive. The scroll is presented with an image first followed by an illustration. Compositions are centered around courtyards cordoned off by trees, rocks, and hallways to focus on the elegant figures, which are delicately outlined with elegant features using “nail-head” and “rat-tail” strokes combined with fine coloring. Though the title gives the painter as Ma Ho-chih, close examination of the work, such as the foreground garden settings, large “axe-cut” texture strokes combined with ink washes, and elongated tips of the contorted pines all derive from the style of two later Southern Sung court painters--Ma Yuan and Hsia Kuei. Stylistically, the brushwork more closely resembles that of Ma Lin, Ma Yuan's son. Furthermore, the calligraphy is more in the style of that of Emperor Li-tsung (r. 1225-1264). Therefore, this should more appropriately be considered a late Sung work.
|
|
參考書目 |
劉芳如，〈宋高宗書女孝經馬和之補圖上卷 卷〉，收入《國寶的形成-書畫菁華特展》（臺北：國立故宮博物院，2017.10），頁100-109、308-309。
|
|
參考書目 |
國立故宮博物院編輯委員會，〈宋高宗書女孝經馬和之補圖上卷 卷〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁104-109。
|
