书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：石渠继鑑
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鉴玺
收传印记：缉熙殿宝
收传印记：天水郡收藏书画印记
收传印记：虎字印
收传印记：商丘宋荦审定真迹

题跋资料:

题跋类别：作者款识；作者：马麟；题跋位置：本幅；款识：臣马麟画；书体：楷书；全文：

题跋类别：题跋；作者：宋理宗；题跋位置：本幅；款识：无；书体：行书；全文：静听松风印记：丙午、御书

主题:

主要主题：山水  ；其他主题：人物高士（士人、隐士） ；其他主题：山水溪涧、湍泉 ；其他主题：人物侍从（侍女、童仆） ；其他主题：树木松 ；其他主题：器用  

技法:

皴法斧劈皴

参考资料:

收藏着录： 石渠宝笈初编（养心殿），上册，页642 收藏着录： 故宫书画录（卷五），第三册，页102 收藏着录： 故宫书画图录，第二册，第193-194 参考书目： 1.林莉娜，〈宋马麟静听松风图〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页124-125。2.何传馨，〈宋马麟静听松风图〉，收入何传馨、许郭璜编，《夏景山水画特展图录》（台北：国立故宫博物院，1991年七月初版），页94-95。3.李霖灿，〈从马麟的静听松风谈起〉，《故宫文物月刊》，第6期（1983年9月），页95-101。4.林莉娜，〈宋马麟静听松风图〉，《故宫文物月刊》，第100期（1991年7月），页82-83。5.王耀庭，〈从〈芳春雨霁〉到〈静听松风〉 — 试说国立故宫博物院藏马麟绘画的宫廷背景〉，《故宫学术季刊》，第十四卷第一期（1996年秋），页39-86。6.《马麟静听松风》（台北：国立故宫博物院，1982）。7.邱士华，〈虎距鹰扬 — 元归真〈画虎〉小探〉，，《故宫文物月刊》，第323期（2010年2月），页46-51。 内容简介（中文）： 马麟（西元十三世纪），河中（今山西省）人，后迁居浙江钱塘，马远之子。由于家学渊源，擅长山水、人物、花鸟。写生作品，自具风格，与父风并不相混，在画史上保有独立地位。 画高士憩息松间，松枝受风偏向一方，旁侍一童子。晋朝大画家顾恺之曾云：「手挥五弦易，目送飞鸿难」。这幅画生动地表现出眼睛凝神倾听松风之神情，真更胜一筹矣。 内容简介（中文）： 马麟（西元一一八O—一二五六年），出身绘画世家，山水、花鸟、人物都擅长，成就不在其父马远之下。 深山流水间，一高士憩坐两株古松间，侧首凝神缔听，背后松针及藤萝随风扬起。虬曲的古松与斧劈描绘的巨石，俱是马派画法，右上方有理宗「静听松风」四字，左下方有「臣马麟画」的署款。北宋时，人在山水画中是过客，但在南宋，山水之间的交流却成为绘画的主题。 内容简介（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 Yüan. 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. 内容简介（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 Yüan 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. 网页展示说明 理宗书「静听松风」，下钤「丙午」、「御书」二玺，左下钤「缉熙殿宝」印，成画年代下限为淳祐六年（1246）。前景高士戴冠复纱，左脚半跏，右脚舒展，胸部微袒，右手轻执衣带，一拂尘置于地。高士凝神谛听，松叶、藤萝等都随风势翻飞，松涛声在蜿蜒水流和远景山峰围绕的空间回荡。清高宗题诗认为画中人物为「特爱松风，每闻其响，欣然为乐」的梁朝陶弘景。亦有学者比对理宗肖像，认为此画呈现理宗爱松形象。(20101015) 网页展示说明 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) 网页展示说明 理宗の书「静聴松风」の下に「丙午」、「御书」という印玺の押捺が二つあり、左下に「缉熙殿宝」という印がある。制作年代は淳祐6年（1246）を下限とする。前景に帽子をかぶり纱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、右手で軽く帯を掴んでいる。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闻き入っているようで、松叶や藤蔓が风に吹かれて翻り、うねうねと流れ行く川や远方に见える山々に囲まれた空间に松风の音が响いている。清高宗の题诗は画中の人物を、「特爱松风、每闻其响、欣然为楽（松风をことのほか好み、その音を聴いては喜び楽しんだ）」という梁朝の陶弘景とした。理宗の肖像画と比较して、この作品には松を好んだ理宗のイメージが表现されているとする研究者もいる。(20101015)