【国画基本信息】
| 作者 | 马远 |
| 品名 | 山水人物图轴 |
| 朝代 | 南宋 |
| 文件大小 | 18.0MB |
| 分辨率 | 300x300 |
| 像素大小 | 3105x1933 |
| 尺寸（CM） | 26.28x16.36 |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 绘画 |
| 品名 | 宋马远山水人物 轴 Figures and Landscape |
| 分类 | 绘画 |
| 作者 | 马远;Ma Yuan |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 77.1x126.4 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 绢 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 主要主题 | 山水 | 日景 | 夕阳 |
| 其他主题 | 人物 | 高士（士人、隐士） | |
| 其他主题 | 人物 | 侍从（侍女、童仆） | |
| 其他主题 | 建筑 | 栏杆 | |
| 其他主题 | 树木 | 松 | |
| 其他主题 | 山水 | 秋景 | |
| 其他主题 | 花草 | 桂花 |
技法
| 【技法】 | 【技法细目】 |
| 皴法 | 斧劈皴 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 故宫书画录（卷五），第三册，页101 |
| 收藏着录 | 故宫书画图录，第二册，页173-174 |
| 参考书目 | 1.〈传宋马远山水人物（元孙君泽）〉，收入陈阶晋、赖毓芝主编，《追索浙派》（台北：国立故宫博物院，2008年初版一刷），页166。 |
| 内容简介（中文） | 本幅画松荫下，二人朝向悬崖对岸，分别做仰、俯动作，彷佛正练着吐纳之术。山石用侧笔横刷的斧劈皴，松枝曲折挺劲，薄雾掩映，笔墨画意甚具有南宋院体风貌。画成时代约在元、早明之际。原可能是屏风，今裱成立轴型式。 马远（约活跃于1190-1224年），生长在职业画师家庭，曾任南宋宫廷画院的待诏。其山水画，取景重心常偏于画面上的一角，因此被称为「马一角」。 |
| 内容简介（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”. |
| 内容简介（中文） | 本幅画松荫下，二人朝向悬崖对岸，分别做仰、俯动作，彷佛正练着吐纳之术。山石用侧笔横刷的斧劈皴，松枝曲折挺劲，薄雾掩映，笔墨画意甚具有南宋院体风貌。画成时代约在元、早明之际。原可能是屏风，今裱成立轴型式。 马远（约活跃于1190-1224年），生长在职业画师家庭，曾任南宋宫廷画院的待诏。其山水画，取景重心常偏于画面上的一角，因此被称为「马一角」。 (20121016) |
| 内容简介（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) |
