石渠寶笈續編(重華宮),第三冊,頁1684&*故宮書畫錄(卷六),第四冊,頁194&*本幅無款,舊籤題標名馬麟暗香踈影。畫中白梅花萼染石綠、胭脂,符合范成大(1126-1193)《梅譜》「綠萼梅」所述「吳下又有一種,萼亦微緑,四邊猶淺絳,亦自難得。」畫面融合北宋詩人林逋(968-1028)「疏影橫斜水清淺,暗香浮動月黃昏」詩意。攲斜梅枝與稀疏竹影掩映,自右向左斜出,轉折角度細膩優雅,背景空無一物。水面倒映梅枝與竹葉,亦隱約可見白色花苞與綠色花萼。不畫月卻表現月下梅影,份外清雅。(20101015)&* This work is unsigned, but the old label gives the title and attributes it to Ma Lin. In the painting are white plum blossoms with calyxes washed in mineral green and rouge, corresponding to the “green-calyx plum blossom” mentioned in Fan Chengda’s (1126-1193) Catalogue of Plum Blossoms: “In the land of Wu is also a variety, its calyx slightly green. All around it is light red, making it also very rare.” The painting merges with the poetic intent of lines by the Northern Song poet Lin Bu (968-1028): “Scattered shadows stretch across the pure and light waters, their hidden fragrance floating amidst the moon at dusk.” The extending branch of plum blossoms and scattered bamboo leaves with their reflections proceed from left to right, the arrangement and turning of the forms delicate and elegant against the background left completely blank to highlight them. Reflected on the surface of the water are the plum branch and bamboo leaves, and ever so lightly can be seen the white buds and green calyxes. The ability to render the shadow of plum blossoms in the moonlight without actually showing the moon reveals a pure elegance extending beyond form.(20101015)&*1.劉芳如,〈宋馬麟暗香疎影〉,收入國立故宮博物院編輯委員會編,《畫梅名品特展》(臺北:國立故宮博物院,1991年元月初版),頁83。 2.許文美,〈暗香疏影〉,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366。&*故宮書畫圖錄,第二十八冊,頁372-377