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：宣统御览之宝

题跋资料:

主题:

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:

皴法斧劈皴

参考资料:

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，彷彿正练着吐纳之术。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（约活跃于一一八九─一二二五年），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（中文）： 本幅画松荫下，二人朝向悬崖对岸，分别做仰、俯动作，彷彿正练着吐纳之术。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（约活跃于一一八九─一二二五年），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) 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 Yüan and Ming dynasties). It also may have once been part of a screen that was trimmed into the present format. Ma Yüan, 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”.