佛利尔美术馆藏传马远《江山胜览图》相关问题考述  

On Grand View of Rivers and Mountains Attributed to Ma Yuan at the Freer Gallery of Art

作　　者：俞乐琦 Yu Leqi

机构地区：[1]中国社会科学院考古研究所,北京100101

出　　处：《中国国家博物馆馆刊》2024年第2期107-126,共20页Journal of National Museum of China

基　　金：中国社会科学院“青启计划”资助(项目批准号:2024QQJH052)。

摘　　要：晚年佛利尔极其珍视的南宋马远长卷《江山胜览图》在20世纪20年代被判为明代伪作,自此不受学界重视。但是海内外公私博物馆中存有多件马夏派作品在题材场景、构图布局、笔墨技法上与之类似,因而该卷仍是一件不容忽视的马夏派范例。本文在厘清该卷断代问题之后,基于题跋信息的释读,以及与《溪山清远图》等六件类似画作的图像比对,尝试补充梳理该种马夏派范例的域外流播与鉴藏脉络,同时就该卷罕见的清末藏家之身份问题作一简单探讨,或可推进相关鉴藏史研究。The Grand View of Rivers and Mountains[江山胜览图],a long handscroll attributed to the Southern Song dynasty painter Ma Yuan and valued highly by Freer in his late years,was regarded as a Ming fake in the 1920s,and thus has attracted little scholarly attention since then.However,there are several Ma-Xia-style artworks similar to it in terms of their subject matter,compositions and painting techniques,so this scroll is still a Ma-Xia-school paradigm that should not be ignored.This article first clarifies this scroll’s dating,and then based on the interpretation of its colophons and its comparison to other six paintings’images including the Pure and Remote View of Streams and Mountains[溪山清远图],tries to outline the international transmission,collection and connoisseurship of this Ma-Xia-school paradigm.At the end,this article also briefly discusses the identity of a late-Qing collector of this scroll,which may advance the related connoisseurship studies.

关 键 词：江山胜览图 溪山清远图 马夏画风 佛利尔 啬道人 

分 类 号：J212[艺术—美术]