书体:

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卷

创作时间:

文字类型:

汉文

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：乾隆御赏之宝
鑑藏宝玺：御书房鑑藏宝
鑑藏宝玺：古希天子
鑑藏宝玺：五福五代堂古稀天子宝
鑑藏宝玺：八征耄念之宝
鑑藏宝玺：太上皇帝之宝
鑑藏宝玺：稽古右文之宝
鑑藏宝玺：典学勤政
鑑藏宝玺：所其无逸
鑑藏宝玺：而贶十全之宝
鑑藏宝玺：信天主人
鑑藏宝玺：学诗堂
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
收传印记：明安国玩（重七）
收传印记：（一印漫漶不识）

题跋资料:

主题:

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参考资料:

收藏着录： 石渠宝笈初编（御书房），下册，页1077 收藏着录： 故宫书画录（卷四），第二册，页288-289 收藏着录： 故宫书画图录，第二十一册，页273-280 收藏着录： 国宝的形成-书画菁华特展，页100-109、308-309 参考书目： 1.林莉娜，〈宋高宗画女孝经马和之补图〉，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104-109。2.马孟晶，〈宋人女孝经图（旧传马和之画高宗书）〉，收入刘芳如、张华芝主编，《群芳谱 — 女性的形象与才艺》（台北：国立故宫博物院，2003年初版一刷），页104-105。3.刘芳如，〈宋高宗书女孝经马和之补图〉，收入国立故宫博物院编辑委员会编，《仕女画之美》（台北：国立故宫博物院，1988年四月初版），页77。4.谭怡令 ，〈百善孝为先：宋高宗书女孝经马和之补图〉，《故宫文物月刊》，第2期（1983年5月），页79-83。5.林莉娜，〈高宗书女孝经马和之补图〉，《故宫文物月刊》，第163期（1996年10月），页60-61。6.童文娥，〈《女孝经图》图文位置的重建〉，《故宫文物月刊》，第265期（2005年4月），页20-41。 内容简介（中文）： 马和之，钱塘（今杭州）人。高宗绍兴（西元一一三一至一一六二年）中登第，高、孝宗两朝深重其画。善山水、人物，笔法飘逸，务去华藻，自成一家。 【女孝经】阐述孝之真义与妇女之各种行为规范。画中笔墨，并不十分近似马和之，倒有马麟之意；且幅前所谓高宗题字，实较近于理示，故宜易名为「宋人书画女孝经」。 内容简介（中文）： 《女孝经》为唐朝侯莫陈(复姓)邈(名)之妻郑氏因姪女策封为永王妃，恐其未熟悉诗礼，作此经计十八章以献之，借以诫告其为妇之道。全文仿《孝经》形制所写，是封建时代执政者为维护其统治地位，所作教化女姓的礼教经典。全文借着曹大家的名义，阐述孝道的意义和各种女性礼仪规范。本幅即依《女孝经》的文意所绘，然仅馀九章。全卷依一文一图形式装裱而成，每一段皆文前图后。构图上以庭院景为主，庭园中的树石、回廊、敞轩成为每一段画面的边框，中央部份人物穿插其间，构组成文意情节。图中树木线条挺健，树根显露虬曲，树枝坚挺拖曳；园石采大斧劈皴兼用淡墨染擦，皆取法自马远、夏圭。画中人物形体钩勒细谨，面容清雅秀致，衣纹线条多采「钉头鼠尾描」，全卷用笔细谨、敷彩雅淡。此图标名为南宋高宗、孝宗时人马和之所作。马和之是高宗绍兴年间(一一三一─一一六二)进士，浙江人。善画人物佛像，高宗深重其画，每书《毛诗》三百篇，令其图写。然而细观此卷，画风更趋近于南宋末的院画家马远、马麟的风格；而本卷楷书定名为高宗所写，书体实亦接近宋理宗，故此卷或可订名为为当。 内容简介（英文）： Ma Ho-chih, a native of Hangchow, was a civil service graduate and served as Vice Minister of Works. Noted for his fine brushwork and scholarly style, he had a unique style of painting. Emperor Kao-tsung, a gifted calligrapher in his own right, appreciated Ma's style and commissioned him to create illustrations of the classics. “The Ladies’ Book of Filial Piety” is a text written in the T’ang dynasty (618-907) by the wife of nobleman whose daughter was promoted to the status of princess. Fearing that her daughter would be unfamiliar with rules of propriety, she composed this text of eighteen chapters based on the classic “Book of Filial Piety” as a means of instruction. Thus, the text elaborates on the standards of behavior expected of court ladies. This handscroll originally had 18 sections, but now only nine survive. The scroll is presented with an image first followed by an illustration. Compositions are centered around courtyards cordoned off by trees, rocks, and hallways to focus on the elegant figures, which are delicately outlined with elegant features using “nail-head” and “rat-tail” strokes combined with fine coloring. Though the title gives the painter as Ma Ho-chih, close examination of the work, such as the foreground garden settings, large “axe-cut” texture strokes combined with ink washes, and elongated tips of the contorted pines all derive from the style of two later Southern Sung court painters--Ma Yuan and Hsia Kuei. Stylistically, the brushwork more closely resembles that of Ma Lin, Ma Yuan's son. Furthermore, the calligraphy is more in the style of that of Emperor Li-tsung (r. 1225-1264). Therefore, this should more appropriately be considered a late Sung work. 内容简介（英文）： Ma Ho-chih, a native of Ch'ien-t'ang(modern Hangchow), served as Vice Minister of the Ministry of Works. Noted for his fine brushwork and his effort to rid his painting of showy elements, he succeeded in creating his own style and was famous for his landscape and figure painting. The Ladies' Book of Filial Piety is a text that elaborates on the significance of piety and explains the standards of behavior expected of women. Stylistically, the brushwork of this illustrated transcription more closely resembles that of the 13th-century painter Ma Lin. Furthermore, the calligraphy is more in the style of that of Emperor Li-tsung(r.1225-1264). Therefore, this should more appropriately be considered a late Sung work.