书体:

色彩:

水墨

装裱形式:

册(蝴蝶装‧方幅式)

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：重华宫鑑藏宝
鑑藏宝玺：乐善堂图书记
鑑藏宝玺：石渠宝笈
收传印记：蓼塘
收传印记：杨氏家藏
收传印记：神品
收传印记：项元汴印
收传印记：项子京家珍藏
收传印记：项墨林鉴赏章
收传印记：檇李项氏士家宝玩
收传印记：墨林祕玩
收传印记：张则之
收传印记：柯亭文房之印

题跋资料:

题跋类别：作者款识；作者：马和之；题跋位置：本幅；款识：马和之 

主题:

主要主题：山水  主要主题：山水江河、湖海江河（水纹）主要主题：树木寒林．枯树枯树主要主题：翎毛鹰 ；其他主题：花草 草

技法:

写意 皴法 人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 石渠宝笈初编（重华宫），下册，页736 收藏着录： 故宫书画录（卷六），第四册，页191 收藏着录： 故宫书画图录，第二十八册，页368-371 参考书目： 1.许郭璜，〈宋马和之古木流泉〉，收入国立故宫博物院编辑委员会编，《文学名着与美术特展》（台北：国立故宫博物院，2001年初版），页117-119。2.许郭璜，〈马和之古木流泉〉，收入国立故宫博物院编，《宋代书画册页名品特展》（台北：国立故宫博物院，1995年初版一刷），页259-260。3.许郭璜，〈「七十件书画册页名品特展」精选(二) — 马和之古木流泉〉，《故宫文物月刊》，第147期（1995年6月），页95-96。4.许郭璜，〈帝国的回忆　国立故宫博物院瑰宝赴法展专辑一 — 马和之古木流泉〉，《故宫文物月刊》，第185期（1998年8月），页36-37。5.许郭璜，〈「文学名着与美术」特展选介（二）　〈沔水〉与〈鹤鸣〉 — 关于本院藏马和之画诗经图册〉，《故宫文物月刊》，第219期（2001年6月），页36-45。 内容简介（中文）： 马和之（活动于西元十二世纪），浙江钱塘人。善画山水、人物、佛像，笔法飘逸，自成一家。本幅所画的内容是出自《诗经》，画幅图像为诗中所描述之一鹰隼栖止枯枝回顾，另一振翅翱翔，以及汤汤流水的景况。画树石皆用马和之擅长的马蝗描法，笔法生动，而别具一格。 内容简介（中文）： 马和之活动于高宗、孝宗朝。此画用笔独具特色，起、收笔的笔锋明晰，中段线条则显圆厚，即所谓「行笔飘逸」，别具古风效果。〈古木流泉〉绘《诗经》〈沔水〉「沔彼流水，朝宗于海。鴥彼飞隼，载飞载止。」〈清泉鹤鸣〉则画〈鹤鸣〉「鹤鸣于九皋，声闻于野。鱼潜在渊，或在于渚。」二篇皆有规劝深意。前者规劝君王应正视诸侯的肆意作为，后者借鹤、鱼比喻贤能人士，呼吁君王访贤。(20101015) 内容简介（英文）： Ma Hezhi was active during the reigns of the Southern Song emperors Gaozong and Xiaozong. These works by Ma employ a very distinctive form of brushwork, in which the tip of the brush at the start and stop of the strokes is clearly defined, but the middle of the lines clearly thicker and rounded. This is the so-called “free and easy running brushwork” that has an archaic effect. “Old Tree and Flowing Stream” illustrates the following lines from “Mian River” in The Book of Poetry: “The waters of Mian, they flow to the court of the sea. Quick is the flight of the falcon--now soaring, now stopping.” “Pure Stream and Calling Crane” illustrates these lines from “Crane Calling”: “A crane cries in the ninth marsh, its sound heard in the wilds. A fish lies in the deep, now by the islet.” Both have deeper levels of meaning for admonishment. The former warns the ruler to face up to the wanton behavior of dukes and princes, while the latter uses the crane and fish as metaphors for a gifted recluse-scholar, calling on the ruler to search for all sages in his realm.(20101015) 内容简介（英文）： Ma Ho-chih, a native of Ch'ien-t'ang (modern Hangchow), was an official who also excelled at painting landscapes and figures. He is said to have been ordered to illustrate the emperor's calligraphic transcription of “The Odes of Mao” 300 times. The subject of this album leaf is from “The Book of Poetry”, China's famous and earliest collection of poetry dating to the Chou dynasty. This work illustrates one of the four-character verses and shows a falcon perched in an old tree looking back at its mate flying over an expanse of flowing water. The painting as well as the verse reflect melancholy overtones. Furthermore, the rocks and tree were done in Ma Ho-chih's famous “wasp-waist” strokes, which fluctuate between thick and thin for a dynamic manner that also echoes the emotional content of the verse.