| 【類別】 | 【參考資料】 |
|
收藏著錄
|
石渠寶笈初編（養心殿），上冊，頁642
|
|
收藏著錄
|
故宮書畫錄（卷五），第三冊，頁102
|
|
收藏著錄
|
故宮書畫圖錄，第二冊，第193-194
|
|
參考書目
|
1.林莉娜，〈宋馬麟靜聽松風圖〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁124-125。
2.何傳馨，〈宋馬麟靜聽松風圖〉，收入何傳馨、許郭璜編，《夏景山水畫特展圖錄》（臺北：國立故宮博物院，1991年七月初版），頁94-95。
3.李霖燦，〈從馬麟的靜聽松風談起〉，《故宮文物月刊》，第6期（1983年9月），頁95-101。
4.林莉娜，〈宋馬麟靜聽松風圖〉，《故宮文物月刊》，第100期（1991年7月），頁82-83。
5.王耀庭，〈從〈芳春雨霽〉到〈靜聽松風〉 — 試說國立故宮博物院藏馬麟繪畫的宮廷背景〉，《故宮學術季刊》，第十四卷第一期（1996年秋），頁39-86。
6.《馬麟靜聽松風》（台北：國立故宮博物院，1982）。
7.邱士華，〈虎距鷹揚 — 元歸真〈畫虎〉小探〉，，《故宮文物月刊》，第323期（2010年2月），頁46-51。
|
|
參考書目
|
何傳馨，〈宋馬麟靜聽松風圖 軸〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁214-215、365-366。
|
|
參考書目
|
國立故宮博物院編輯委員會，〈宋馬麟靜聽松風圖 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁124-125。
|
|
內容簡介（中文）
|
馬麟（西元十三世紀），河中（今山西省）人，後遷居浙江錢塘，馬遠之子。由於家學淵源，擅長山水、人物、花鳥。寫生作品，自具風格，與父風並不相混，在畫史上保有獨立地位。 畫高士憩息松間，松枝受風偏向一方，旁侍一童子。晉朝大畫家顧愷之曾云：「手揮五弦易，目送飛鴻難」。這幅畫生動地表現出眼睛凝神傾聽松風之神情，真更勝一籌矣。
|
|
內容簡介（中文）
|
馬麟（西元一一八O—一二五六年），出身繪畫世家，山水、花鳥、人物都擅長，成就不在其父馬遠之下。 深山流水間，一高士憩坐兩株古松間，側首凝神締聽，背後松針及藤蘿隨風揚起。虯曲的古松與斧劈描繪的巨石，俱是馬派畫法，右上方有理宗「靜聽松風」四字，左下方有「臣馬麟畫」的署款。北宋時，人在山水畫中是過客，但在南宋，山水之間的交流卻成為繪畫的主題。
|
|
內容簡介（英文）
|
Ma Lin, from a family of painters, specialized in landscapes, birds-and-flowers, and figures-being just as accomplished as his father, Ma Yuan. Deep in the mountains beside a flowing stream, a lofty gentleman sits on the trunk of a large pine as he stares and listens with intent to the wind blowing through the pine needles and vines. The twisting old pines and large rocks rendered in axe-cut strokes reveal the Ma-school style. The title written by Emperor Li-tsung is in the upper right. In the lower left is Ma Lin’s signature. In the Northern Sung, figures appeared as insignificant elements of the landscape, while in the Southern Sung, the relationship between man and nature became an even more important aspect in painting.
|
|
內容簡介（英文）
|
Man Lin was a native of Ho-chung(modern Shansi), though he moved to Hangchou, Chekiang. He was the son of the famous court painter Ma Yuan and excelled in painting landscapes, figures, and birds and flowers. He developed his own particular style distinct from that of his father. A scholar rests amidst pines as the wind blows pine branches aslant. A servant boy stands waiting to one side. The Chin dynasty painter Ku K’ai-chih wrote: “ To paint a hand plucking the strings of a lute is easy; to paint the eyes following the flight of a wild goose is difficult.” In a convincing and moving manner, Ma Lin has depicted the look of the scholar listening intently to the wind.
|
|
網頁展示說明
|
理宗書「靜聽松風」，下鈐「丙午」、「御書」二璽，左下鈐「緝熙殿寶」印，成畫年代下限為淳祐六年（1246）。
前景高士戴冠覆紗，左腳半跏，右腳舒展，胸部微袒，右手輕執衣帶，一拂塵置於地。高士凝神諦聽，松葉、藤蘿等都隨風勢翻飛，松濤聲在蜿蜒水流和遠景山峰圍繞的空間迴盪。清高宗題詩認為畫中人物為「特愛松風，每聞其響，欣然為樂」的梁朝陶弘景。亦有學者比對理宗肖像，認為此畫呈現理宗愛松形象。(20101015)
|
|
網頁展示說明
|
In the upper right corner of this painting Emperor Lizong wrote the four characters for its title and also impressed two imperial seals for "Bingwu" and "Yushu." Also in the lower left is impressed the imperial collection seal "Treasure of the Qixi Hall." This evidence indicates that the painting was done no later than 1246.
In the foreground sits a lofty scholar wearing a gauze cap with his left leg half crossed and the other extended comfortably. With his chest partially exposed, his right hand lightly grasps his clothing as a flywhisk lies on the ground. The scholar concentrates on listening with all his attention, the pine needles and vines blowing in the strong wind, the sound of which seems to echo in the space of flowing water and surrounding peaks behind him.
The Qing emperor Gaozong (Qianlong) in his verse at the top of the work considered the figure in the painting as "especially appreciative of the wind in pines, taking great joy with each sound of the wind as if it were music," borrowing from the lines of Tao Hongjing in the Liang dynasty. Compared to the portrait of Emperor Lizong, there is also scholarly opinion that this painting depicts the emperor himself appreciating pines.(20101015)
|
|
網頁展示說明
|
理宗の書「靜聽松風」の下に「丙午」、「御書」という印璽の押捺が二つあり、左下に「緝熙殿寶」という印がある。製作年代は淳祐6年（1246）を下限とする。
前景に帽子をかぶり紗の衣をまとった高士がおり、左足を折り曲げ右足を伸ばしている。胸元はややはだけ、右手で軽く帶を掴んでいる。その傍らの地面にはちり払いが置いてある。高士は耳を澄まして何かに聞き入っているようで、松葉や藤蔓が風に吹かれて翻り、うねうねと流れ行く川や遠方に見える山々に囲まれた空間に松風の音が響いている。清高宗の題詩は畫中の人物を、「特愛松風、每聞其響、欣然為楽（松風をことのほか好み、その音を聽いては喜び楽しんだ）」という梁朝の陶弘景とした。理宗の肖像畫と比較して、この作品には松を好んだ理宗のイメージが表現されているとする研究者もいる。(20101015)
|