歷朝名繪 冊 宋馬和之古木流泉
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- 資料識別：
- 故畫001236N000000005
- 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：
- 江河、湖海 寒林．枯樹 鷹
- 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&*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. &*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，〈宋馬和之古木流泉〉，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117-119。 2.許郭璜，〈馬和之古木流泉〉，收入國立故宮博物院編，《宋代書畫冊頁名品特展》（臺北：國立故宮博物院，1995年初版一刷），頁259-260。 3.許郭璜，〈「七十件書畫冊頁名品特展」精選(二) — 馬和之古木流泉〉，《故宮文物月刊》，第147期（1995年6月），頁95-96。 4.許郭璜，〈帝國的回憶 國立故宮博物院瑰寶赴法展專輯一 — 馬和之古木流泉〉，《故宮文物月刊》，第185期（1998年8月），頁36-37。 5.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。 &*馬和之（活動於西元十二世紀），浙江錢塘人。善畫山水、人物、佛像，筆法飄逸，自成一家。本幅所畫的內容是出自《詩經》，畫幅圖像為詩中所描述之一鷹隼棲止枯枝回顧，另一振翅翱翔，以及湯湯流水的景況。畫樹石皆用馬和之擅長的馬蝗描法，筆法生動，而別具一格。
- 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
