书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：嘉庆御览之宝
收传印记：神品
收传印记：子京父印
收传印记：项子京家珍藏
收传印记：项墨林鉴赏章
收传印记：项元汴印
收传印记：墨林秘玩
收传印记：子孙永保
收传印记：桂坡安国鉴赏
收传印记：吴氏珍玩

题跋资料:

题跋类别：作者款识；作者：马远；题跋位置：本幅；款识：无；书体：楷书；全文：马远

主题:

主要主题：山水冬景（雪景） 主要主题：翎毛鹭鸶四只；其他主题：树木寒林．枯树 ；其他主题：翎毛喜鹊 ；其他主题：山水溪涧、湍泉 ；其他主题：树木竹 

技法:

写意 

参考资料:

收藏着录： 故宫书画录 (卷五)，第三册，页95 收藏着录： 故宫书画图录，第二册，页159-160 参考书目： 1.谭怡令，〈宋马远雪滩双鹭〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页122-123。2.谭怡令，〈宋马远雪滩双鸳〉，收入谭怡令编，《画?珍禽》（台北：国立故宫博物院，1988年十月初版），页83。3.谭怡令，〈书画菁华特展 — 马远雪滩双鹭〉，《故宫文物月刊》，第163期（1996年10月），页60-61。4.陈葆真，〈从空间表现法看南宋小景山水画的发展〉，《故宫学术季刊》，第十三卷第三期（1996年春），页83-117。5.许文美，〈雪滩双鹭〉，收入何传馨主编，《文艺绍兴：南宋艺术与文化‧书画卷》（台北：国立故宫博物院，2010年十月初版一刷），页361-362。 内容简介（中文）： 马远（活动于西元1190-1224年），字钦山，祖籍山西河中（今山西永济），迁居杭州。曾于光宗、宁宗两朝（西元1190-1224年）为画院待诏，擅画山水、花鸟、人物，尤以山水的成就最卓越，与夏圭齐名，而有「马夏」之称。 本幅生动地画出冬天大地间仅剩下黑白两色的强烈对比。画家以浓墨画树石，积云以留白来表现，滩旁三只鹭鸶躲在石后，另一只停在溪畔瑟缩不已。马远呈现的画面，往往经过充分剪裁，空茫之处所发挥的造境效果，不亚于有实景处。全幅洁净雪白，有着寂静肃穆的感觉。枝干以拖枝法画成，运笔挺劲有力。山石施以斧劈皴法，笔意粗劲野逸。 内容简介（中文）： 马远，字钦山，先世河中（今山西永济）人，曾于光宗、宁宗两朝（西元一一九○─一二二四年）为画院待诏，擅画山水、花鸟、人物，尤以山水的成就最卓越。 本幅生动地画出冬天大地间仅剩下黑白两色的强烈对比。画家以浓墨画树石，积云以留白来表现，滩旁三只鹭鸶躲在石后，另一只停在溪畔瑟缩不已。马远呈现的画面，往往经过充分剪裁，空茫之处所发挥的造境效果，不亚于有实景处。 内容简介（中文）： 马远为光宗（1190-1194在位）、宁宗（1195-1224在位）朝宫廷画家。本幅画雪天中巨岩梅树下，芦竹寒汀，四只白鹭憩于岸边。三只瑟缩于石角，其中一只仅见其首，另两只仰首，当中一只张嘴鸣叫，似认为枝头喜鹊入侵领域；尚有一只伫立滩边，凝视水流。白鹭皆以细笔淡墨勾勒，芦叶及水波纹墨色略深。岩块轮廓、斧劈皴及梅树枝干墨笔浓黑简鍊，梅树拖枝颤笔。虚实互用，白鹭淡墨，白雪留白，梅瓣则以白粉提点；呈现一种「山间水滨荒寒清绝之趣」的特殊品味。(20101015) 内容简介（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) 内容简介（英文）： Ma Yüan, 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 Yüan 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 Yüan almost always edited the scenery in his paintings in order to suggest the most using the least. 内容简介（英文）： Ma Yüan (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 Yüan 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 Yüan 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 Yüan’s style. Tremulous and vibrant, they are imbued with forceful strength. The rocky terrain is also modeled in coarse, yet graceful, axe-cut strokes. 网页展示说明 马远，字钦山，先世河中（今山西永济县）人。祖父时随着宋室南迁，徙居于钱塘，曾于光宗、宁宗两朝（1190？1224）为画院待诏。马远出身于绘画世家，从曾祖父马贲（约活动于1086？1125）起至其子马麟（约活动于1195？1264）为止，一门五代都是画院画家。善画山水、人物、花鸟，与夏圭（活动于1180？1230前后）齐名，时称「马夏」。 雪崖枯树，芦竹寒汀，三只白鹭聚集在坡石之下，另一只则站在溪畔，都作寒冷瑟缩的样子。画家用浓淡的墨色来渲染树、石、天色、远山和芦草，白鹭和积雪则用留白的手法处理，黑白对比，展现出冬季清冷寂静的寒意。画家用方硬的笔法、浓重的焦墨来画树石的轮廓线，再用「斧劈」皴法画出石块明暗凹凸的变化，笔笔苍劲。枝条向下斜伸，瘦硬的像屈铁一般，是马远画作的一大特色。边角式的构图利用虚旷的背景，造成空间的延伸，将前面的实景衬托得更为醒目了。画幅右下角还见「马远」名款。 网页展示说明 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.