收藏著錄@#@石渠寶笈續編(乾清宮),第一冊,頁518-521@#@@#@收藏著錄@#@故宮書畫錄(卷四),第二冊,頁302-305@#@@#@收藏著錄@#@故宮書畫圖錄,第二十一冊,頁335-342@#@@#@參考書目@#@1.馬孟晶,〈馬琬春山清霽〉,收入石守謙、葛婉章主編,《大汗的世紀:蒙元時代的多元文化與藝術》(臺北:國立故宮博物院,2001年初版),頁311-312。
@#@@#@參考書目@#@陳韻如,〈元人集錦 卷 馬琬春山清霽〉,收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》(臺北:國立故宮博物院,2016.10),頁178-191、292-295。@#@@#@內容簡介(中文)@#@馬琬,作品見於元至正壬午、丙午間(—一三四二—一三六六—)。金陵人,字文璧,號魯鈍。善山水,工書與詩。每遇佳山水,必託之豪素,輒自題詩,時稱三絕。
高山層層??起,林木長長矗立,清溪蜿蜒,漁舟搖搖,山村亭閣,曲徑相通,筆墨滋潤,體會出大地草木萌生。全幅結構皴法,大抵出於元黃公望富山居圖,尤以遠山丘陵起伏,近者淡遠者濃,畫法極為相似。
@#@@#@內容簡介(英文)@#@ Ma Wan, style name Wen-pi, sobriquet Lu-tun, was a native of Chin-ling (modem Nanking). Whenever he came upon fine scenery, he felt compelled to paint it, often adding a poem. His works thus combined the “Thee Excellences”--painting, poetry, and calligraphy--all of which he excelled at.
Tall trees rise up from layer upon layer of lofty mountains. Fishing boats sway on the serpentine, halcyon river. Winding trails connect the houses of the mountain village. The great expanse of freshly sprouting trees and plants is represented in moist, fluid ink. The composition and textural qualities are for the most part derived from Dwelling in the Fu-ch’un Mountains by the Yuan dynasty painter Huang Kung-wang. The brushwork is particularly similar, especially in the contrast between the dark, distant ranges and the closer, paler hills.