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【類別】 |
【參考資料】 |
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收藏著錄 |
石渠寶笈續編﹝御書房﹞，第四冊，頁1983
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收藏著錄 |
故宮書畫錄﹝卷五﹞，第三冊，頁298
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收藏著錄 |
故宮書畫圖錄，第六冊，頁131-132
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參考書目 |
1.許郭璜，〈明馬軾春塢村居圖〉，收入《李郭山水畫系特展》（臺北：國立故宮博物院，1999年初版），頁81-84。
2.〈明馬軾春塢村居〉，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172-173。
3.〈明馬軾春塢村居圖〉，收入國立故宮博物院編輯委員會編，《春景山水畫特展圖錄》（臺北：國立故宮博物院，1987年一月初版），頁53-54。
4.本社，〈明馬賦春塢村居〉，《故宮文物月刊》，第60期（1988年3月），封底裡。
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內容簡介（中文） |
馬軾（西元十五世紀），江蘇嘉定人，字敬瞻。明英宗正統元年（一四三六）授司天博士。工詩畫，尤善長山水，學宋朝郭熙，很有古法，與戴進並重於京師。 畫山中村聚，二老扶杖歸來，童子應門。婦人孩童或餵雞食；或在舂米。村人亭內對奕；或嬉游於山徑，描繪出快樂純樸的農村生活。構局上置巍巍遠山於中軸，畫面益為沈穩，從郭熙筆法而來的靈動山皴線條，為此剛硬山景憑添柔和氣氛。
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內容簡介（英文） |
Ma Shih, a native of Kiangsu province, served in the Imperial Observatory in 1436. He was skilled in poetry and painting, especially landscapes. He studied the style of Kuo Hsi and mastered the ancient styles, being equal to Tai Chin. As the title suggests, this work shows a mountain village in spring, where we see a man, children, and women. In the right middleground, several figures make their way to the thatched buildings. The overall atmosphere is that of joy and simplicity in a countryside village. The composition is that of a central, monumental mountain that stabilizes the work. The spirited texture strokes derive from the Kuo Hsi style and give the rugged mountains a sense of atmosphere and softness.
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內容簡介（中文） |
馬軾（西元十五世紀），自敬瞻，嘉定（今屬上海市）人。宣德、正統年間，與謝環同擅畫名於北京。正統十四年（一四四九），因精於占候而徵調廣東，授命為欽天監漏刻博士。工山水、人物，畫法宗郭熙、馬、夏。 此軸山石居於中軸線，山脈略呈「Ｓ」型的深遠空間表現法，與郭熙「早春圖」相似。此圖著重前景村居人物活動細節的描寫，運筆快速的雲頭皴與強烈對比的墨色暈染，瀟灑有氣勢。此種筆墨變化趣味，正是明代宮廷繪畫的主要特徵之一。
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內容簡介（英文） |
Ma Shih (style name Ching-chan) was a native of Chia-ting in Kiangsu province. He was a painter at the Hsuan-te (1426-1435) and Cheng-t’ung (1436-1449) courts and gained fame as a painter in Peking with Hsieh Huan. In 1449, because he was able to forecast the weather, he was sent to Canton to hold an official position in the Directorate of Astronomy. He was skilled in landscape and figure painting, studying the styles of Kuo Hsi, Ma Yuan, and Hsia Kuei of the Southern Sung dynasty. Mountains in the center of the composition twist in an S-curve revealing deep space similar to Kuo His’s Early Spring. The village in the foreground, however, replete with human activity and careful details, is the focus of this painting. The “budding cloud” texture strokes give an impression f speed, and the light and dark washes create strong contrasts. There is a natural and unrestrained quality. This kind of interesting use of ink and brush is one of the major characteristics of Ming court painting.
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