歷朝名繪 冊 宋馬和之清泉鳴鶴
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- 資料識別：
- 故畫001236N000000006
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 馬和之
- 主題與關鍵字：
- 溪澗、湍泉 鶴 魚
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 30x48.7公分、全幅 48.8x75公分
- 關聯：
- 石渠寶笈初編（重華宮），下冊，頁736&*故宮書畫錄（卷六），第四冊，頁191&*馬和之活動於高宗、孝宗朝。此畫用筆獨具特色，起、收筆的筆鋒明晰，中段線條則顯圓厚，即所謂「行筆飄逸」，別具古風效果。〈古木流泉〉繪《詩經》〈沔水〉「沔彼流水，朝宗于海。鴥彼飛隼，載飛載止。」〈清泉鶴鳴〉則畫〈鶴鳴〉「鶴鳴于九皋，聲聞于野。魚潛在淵，或在于渚。」二篇皆有規勸深意。前者規勸君王應正視諸侯的肆意作為，後者藉鶴、魚比喻賢能人士，呼籲君王訪賢。(20101015)&*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)&*1.許郭璜，〈宋馬和之清泉鳴鶴圖〉，收入國立故宮博物院編輯委員會編，《文學名著與美術特展》（臺北：國立故宮博物院，2001年初版），頁119-121。 2.許郭璜，〈「文學名著與美術」特展選介（二） 〈沔水〉與〈鶴鳴〉 — 關於本院藏馬和之畫詩經圖冊〉，《故宮文物月刊》，第219期（2001年6月），頁36-45。 3.陳韻如，〈清泉鳴鶴〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化•書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁349。
- 管理權：
- 國立故宮博物院
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- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
