收藏著錄@#@石渠寶笈續編(重華宮),第三冊,頁1533@#@@#@收藏著錄@#@故宮書畫錄(卷五),第三冊,頁94@#@@#@收藏著錄@#@故宮書畫圖錄,第二冊,頁155-156@#@@#@參考書目@#@邱士華,〈宋馬遠板橋踏雪圖 軸〉,收入《行篋隨行-乾隆南巡行李箱中的書畫》(臺北:國立故宮博物院,2017.03),頁80-85。@#@@#@內容簡介(中文)@#@馬遠(活動於西元一一九○─一二二四年),山西河中人。字欽山,南宋光宗、寧宗兩朝畫院待詔,父世榮、祖父興祖、子麟皆善畫。山水、人物、花鳥,種種臻妙。山水尤能自樹一幟,與夏圭齊名,時稱馬夏。
深山幽谷,一人率琴童踏雪訪梅。畫石用勁銳之斧劈皴,畫樹線條亦蒼勁有力,樹枝時有垂下者,特具瀟洒之筆趣,名為「拖枝馬遠」,為馬遠用筆之特色。
@#@@#@內容簡介(英文)@#@ Ma Yuan’s family hailed from Shansi. His father, grandfather and son were all well-known as professional painters. Ma Yuan served the courts of Kuang-tsung and Ning-tsung of the Southern Sung, and he achieved great fame for his paintings in each genre. He is especially known for his landscapes and is commonly associated with his contemporary Hsia Kuei (f1.1195-1224).
In a valley deep in the mountains, a scholar and his ch’in-carrying servant step through the snow in search of plum blossoms. Rocks are described with sharp ax-cut texture strokes, and the trees are formed with powerful, hoary lines. The long, extended branches that hang down are a hallmark of Ma Yuan’s style, and they add spirit and elegance to the painting.