收藏著錄@#@石渠寶笈續編(重華宮),第三冊,頁1679@#@@#@收藏著錄@#@故宮書畫錄(卷六),第四冊,頁187@#@@#@收藏著錄@#@故宮書畫圖錄,第二十八冊,頁164-169@#@@#@參考書目@#@何傳馨,〈唐宋名繢 冊 宋馬遠松風樓觀〉,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211、364-365。@#@@#@內容簡介(中文)@#@邊角構圖繪園林中屋宇重疊,園外隔岸遠山。建築群結構描繪仔細且等級高,似為宮苑,可能反映南宋宮苑依山建築情景。款題馬遠,其用筆結字,與〈山徑春行〉、〈雪灘雙鷺〉等簽款皆不類,應非出自馬遠。
畫風受馬遠風格影響,小幅畫面繪宮苑一隅作法,接近上海博物館藏〈臺榭月夜〉,細緻度則未及,由此來看,本幅或許反映了宮廷外其他畫家模仿畫院名家風格的現象。(20101015)@#@@#@內容簡介(英文)@#@ In this painting are double-eave buildings in a forest garden setting with distant hills appearing on the other bank. The structure of the building cluster is rendered with great finesse and loftiness, like a palace garden, perhaps reflecting the type of palace garden architecture constructed in the hills during the Southern Song. The Ma Yuan signature that appears on this work differs from those on “Walking on a Mountain Path in Spring” and “Paired Egrets on a Snowy Bank,” suggesting it did not come from his hand.
The style here, nonetheless, reflects the influence of Ma Yuan. The method of depicting the corner of a palace garden in a small painting is similar to “High Tower on a Moonlit Evening” in the Shanghai Museum collection but with a lesser degree of refinement. From this point of view, it perhaps reflects how painters at court imitated the styles of famous masters.(20101015)