| 參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄 (卷五)，第三冊，頁95
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收藏著錄 |
故宮書畫圖錄，第二冊，頁159-160
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參考書目 |
1.譚怡令，〈宋馬遠雪灘雙鷺〉，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122-123。
2.譚怡令，〈宋馬遠雪灘雙鴛〉，收入譚怡令編，《畫裡珍禽》（臺北：國立故宮博物院，1988年十月初版），頁83。
3.譚怡令，〈書畫菁華特展 — 馬遠雪灘雙鷺〉，《故宮文物月刊》，第163期（1996年10月），頁60-61。
4.陳葆真，〈從空間表現法看南宋小景山水畫的發展〉，《故宮學術季刊》，第十三卷第三期（1996年春），頁83-117。
5.許文美，〈雪灘雙鷺〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化．書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁361-362。
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內容簡介（中文） |
馬遠（活動於西元1190-1224年），字欽山，祖籍山西河中（今山西永濟），遷居杭州。曾於光宗、寧宗兩朝（西元1190-1224年）為畫院待詔，擅畫山水、花鳥、人物，尤以山水的成就最卓越，與夏圭齊名，而有「馬夏」之稱。 本幅生動地畫出冬天大地間僅剩下黑白兩色的強烈對比。畫家以濃墨畫樹石，積雲以留白來表現，灘旁三隻鷺鷥躲在石後，另一隻停在溪畔瑟縮不已。馬遠呈現的畫面，往往經過充分剪裁，空茫之處所發揮的造境效果，不亞於有實景處。全幅潔淨雪白，有著寂靜肅穆的感覺。枝幹以拖枝法畫成，運筆挺勁有力。山石施以斧劈皴法，筆意粗勁野逸。
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內容簡介（英文） |
Ma Yuan (style name Ch’in-shan) was from a family native to Ho-chung, Shansi, but later moved to Hangchow. Serving as Painter-in-Attendance in the Southern Sung, he specialized in landscapes, birds-and-flowers, and figures, being especially accomplished in the former. Ma Yuan has reduced the elements of this painting to a dramatic contrast between black and white to suggest the penetrating cold of winter. In other words, Ma used dark ink to accentuate the rocks and trees, while the areas indicating snow have been left blank. By a bank are three egrets behind the rocks, while another stands to the side at the edge of the water. Ma Yuan almost always edited the scenery in his paintings in order to suggest the most using the least. A blanket of snow covers the scenery, enhancing the sense of solitude and desolation. The branches are rendered with the dragged, pulled strokes characteristic of Ma Yuan’s style. Tremulous and vibrant, they are imbued with forceful strength. The rocky terrain is also modeled in coarse, yet graceful, axe-cut strokes.
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內容簡介（中文） |
馬遠，字欽山，先世河中（今山西永濟）人，曾於光宗、寧宗兩朝（西元1190-1224年）為畫院待詔，擅畫山水、花鳥、人物，尤以山水的成就最卓越。 本幅生動地畫出冬天大地間僅剩下黑白兩色的強烈對比。畫家以濃墨畫樹石，積雲以留白來表現，灘旁三隻鷺鷥躲在石後，另一隻停在溪畔瑟縮不已。馬遠呈現的畫面，往往經過充分剪裁，空茫之處所發揮的造境效果，不亞於有實景處。
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內容簡介（英文） |
Ma Yuan, of Shansi ancestry, resided in the capital of Hangchow. Serving as Painter-in-Attendance in the Southern Sung, he specialized in landscapes, birds-and-flowers, and figures, being especially accomplished in the former. Ma Yuan has reduced the elements of this painting to a dramatic contrast between black and white to suggest the penetrating cold of winter. In other words, Ma used dark ink to accentuate the rocks and trees, while the areas indicating snow have been left blank. By a bank are three egrets behind the rocks, while another stands to the side at the edge of the water. Ma Yuan almost always edited the scenery in his paintings in order to suggest the most using the least.
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網頁展示說明 |
馬遠，字欽山，先世河中（今山西永濟縣）人。祖父時隨著宋室南遷，徙居於錢塘，曾於光宗、寧宗兩朝（1190-1224）為畫院待詔。馬遠出身於繪畫世家，從曾祖父馬賁（約活動於1086-1125）起至其子馬麟（約活動於1195-1264）為止，一門五代都是畫院畫家。善畫山水、人物、花鳥，與夏圭（活動於1180-1230前後）齊名，時稱「馬夏」。 雪崖枯樹，蘆竹寒汀，三隻白鷺聚集在坡石之下，另一隻則站在溪畔，都作寒冷瑟縮的樣子。畫家用濃淡的墨色來渲染樹、石、天色、遠山和蘆草，白鷺和積雪則用留白的手法處理，黑白對比，展現出冬季清冷寂靜的寒意。畫家用方硬的筆法、濃重的焦墨來畫樹石的輪廓線，再用「斧劈」皴法畫出石塊明暗凹凸的變化，筆筆蒼勁。枝條向下斜伸，瘦硬的像屈鐵一般，是馬遠畫作的一大特色。邊角式的構圖利用虛曠的背景，造成空間的延伸，將前面的實景襯托得更為醒目了。畫幅右下角還見「馬遠」名款。
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網頁展示說明 |
Ma Yuan, of Shansi ancestry, resided in the capital of Hangchow. Serving as Painter-in-Attendance in the Southern Sung, he specialized in landscapes, birds-and-flowers, and figures, being especially accomplished in the former. Ma Yuan has reduced the elements of this painting to a dramatic contrast between black and white to suggest the penetrating cold of winter. In other words, Ma used dark ink to represent the rocks and trees, while the areas indicating snow have been left blank. By a bank are three egrets behind the rocks, while another stands to the side at the edge of the water. Ma Yuan almost always edited the scenes in his paintings to suggest the most with the least.
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內容簡介（中文） |
馬遠為光宗（1190-1194在位）、寧宗（1195-1224在位）朝宮廷畫家。
本幅畫雪天中巨岩梅樹下，蘆竹寒汀，四隻白鷺憩於岸邊。三隻瑟縮於石角，其中一隻僅見其首，另兩隻仰首，當中一隻張嘴鳴叫，似認為枝頭喜鵲入侵領域；尚有一隻佇立灘邊，凝視水流。白鷺皆以細筆淡墨勾勒，蘆葉及水波紋墨色略深。岩塊輪廓、斧劈皴及梅樹枝幹墨筆濃黑簡鍊，梅樹拖枝顫筆。虛實互用，白鷺淡墨，白雪留白，梅瓣則以白粉提點；呈現一種「山間水濱荒寒清絕之趣」的特殊品味。(20101015)
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內容簡介（英文） |
A large cliff on a snowy day rises with a plum tree winding its way into the scene from the left. By the reeds and bamboo on a wintry shoal are four white egrets at rest. Three of them are crouched behind the rocks, with only the head of one visible as the other two look up. One opens its beak as if to call out, as if objecting to the magpie on the branch above that has entered the scene. There is also another egret standing by the shore, staring into the flowing water below. The white egrets were all outlined with fine brushstrokes and light ink, the reed leaves and ripple patterns done in ink tones that are slightly darker. The rock outlines, “axe-cut” strokes, and plum tree trunk and branches were all done in thick, jet-black strokes, the tips of the plum tree branches revealing the use of “trembling” brushwork.
In the balance between solid and void in this painting, the white egrets are in light ink, the white of the snow left blank, and the white petals of the plum blossoms dotted with white pigment. They express “An interest in a waterside mountain scene, the ultimate purity of desolate winter.”(20101015)
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參考書目 |
何傳馨，〈宋馬遠雪灘雙鷺 軸〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁194、361-362。
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參考書目 |
國立故宮博物院編輯委員會，〈宋馬遠雪灘雙鷺 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁122-123。
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