书体:

色彩:

设色

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅绢对幅纸

释文:

印记资料:

收传印记：仪周珍藏
收传印记：姜氏二酉家藏
收传印记：张銕

题跋资料:

题跋类别：题签；   ；书体：楷书；全文：马远倚云仙杏。

题跋类别：作者款识；作者：马远；题跋位置：本幅；款识：臣马远画 

题跋类别：题跋；作者：宋高宗后杨氏；题跋位置：本幅；款识：无；书体：楷书；全文：迎风呈巧媚。浥露逞红妍。印记：坤、杨姓翰墨、交翠轩印

题跋类别：题跋；作者：清高宗对幅 ；书体：行书；全文：（乾隆戊申御题。诗文不录）印记：含英咀华、即事多所欣

主题:

主要主题：花草杏花 

技法:

工笔 

参考资料:

收藏着录： 石渠宝笈续编（养心殿），第二册，页1105 收藏着录： 故宫书画录（卷六），第四册，页243 收藏着录： 故宫书画图录，第二十九册，页136-145 参考书目： 1.张华芝，〈杨皇后题马远倚云仙杏〉，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172。 内容简介（中文）： 马远字钦山，山西河中人，南宋光宗宁宗两朝（西元一一九○至一二二四）画院待诏，与父世荣、祖父兴祖，子麟皆善画。山水、人物、花鸟种种臻妙，山水尤能独树一帜，与夏圭齐名，时称「马夏」。 本幅设色绘红杏一枝，布局简略。折枝由左侧斜出，至末梢上下分叉，折转伸展。花朵或含苞吐蕊，或怒放争胜，翻俯偃仰，浑融天成。上方有杨皇后题：「迎风呈巧媚，浥露逞红妍。」 内容简介（中文）： 款「臣马远画」，折枝构图简洁，工笔设色。杨皇后（1162-1233）小楷书「迎风呈巧媚，浥露逞红妍」诗句，书风秀雅。钤「坤卦」、「杨姓翰墨」二印，画应作于宁宗嘉泰二年（1202）杨氏被立为皇后之后。杏花由含苞、盛开至凋落，颜色由红转淡，花落时纯白。此幅杏枝由左下斜上舒展，花瓣敷染白色、部分亦染淡红，使花瓣呈白中透红，而花苞为粉红，花蕾为红色。呈现杏花含苞待放至盛开之际，显现画家细腻观察与掌握。(20101015) 内容简介（英文）： Bearing the signature “Painted by the Servitor Ma Yuan,” this work depicts part of a branch in a succinct composition rendered with fine brushwork and delicate colors. The two lines of verse inscribed to the right in small regular script by Empress Yang (1162-1233) read, “Facing the breeze with fine charm, moist dew shows off the beauty of rouge.” Next to the inscription are impressions of her two seals, one for “Kungua” and the other for “Yang xing hanmo” (Calligraphy of Née Yang). This work was probably done sometime after 1202, when she was promoted to the rank of Empress.The apricot blossoms range from buds to those in full bloom and already fading. The colors likewise go from red to lighter shades, the petals themselves being pure white. The apricot branch extends from left to right, the petals washed in white also featuring some parts with red washes, adding a touch of pink to the whiteness in the petals. The flower buds are in pink and the small buds are red. Showing a range of blossoms from buds to full bloom, this work reveals the artist’s delicate observation and his ability to grasp fine details in Nature.(20101015) 内容简介（英文）： Ma Yüan, whose style name was Ch’in-shan, came from Ho-chung, Shansi. He served as painter-in-attendance in the Painting Academy during the reigns of Southern Sung emperors Kuang-tsung (r. 1190-1194) and Ning-tsung (r. 1195-1224). Ma Yüan was a master of landscape, figures, and bird-and-flower painting, and from a family of accomplished painters; his father, grandfather, and son were all well-known artists. His fame equalled that of his contemporary, Hsia Kuei, and in time came to be associated by the term “Ma-Hsia.” The branches of a red apricot tree, twisting and turning, intersecting and separating, enter the picture plane from the left. The flowers, some in full bloom and others still in bud form, vie for position and turn in space in a natural manner. Above is an inscription by Yang Mei-tzu, consort of Emperor Ning-tsung.