- 724
馬元馭 1669-1722
估價
40,000 - 60,000 USD
招標截止
描述
- Ma Yuanyu
- 馬元馭 花鳥 設色絹本 十二開冊 一七零二年作周儀題跋
- ink and color on silk, album of twelve leaves
款識：
〈一〉露井僲姿。法崔囪白。扶風馬元馭。
〈二〉沈孟堅師錢舜舉，其兼工帶寫，一種艷麗中絕無脂粉氣，雖刻意摹之，正不能及。馬元馭。
〈三〉影搖江浦月，香引擢歌風。扶曦。
〈四〉煙橫寒食雨，燕掠杏花風。馬元馭。
〈五〉秋草一庭花色異，最宜雨後隔簾看。法于青年。棲霞散人並題。
〈六〉趣織催人織，苦向霜夜鳴。東鄰有懶婦，不聞機杼聲。元馭題於雲根小築。
〈七〉日出秦樓明，條垂露尚盈。蠶飢心自急，開奩粧不成。令月開和景，處處動春心。掛筐須葉滿，息倦重枝陰。元馭寫蠶桑，書蕭子題句。
〈八〉北宋丘慶餘精於草蟲，極其形似，風韻高雅，為世所推。少師藤昌祐，晚年過之。此幅追擬其意，捉筆茫然，知未能神肖也。南沙。
〈九〉撫徐崇嗣設色。南沙馬元馭。
〈十〉陶令籬邊色，羅含宅裡香。擬黃要叔。元馭。
〈十一〉昔於邗江見陳仲仁〈高柳鳴蟬圖〉，蕭散不凡，披覽之際，恍如暑雨初收，秋風乍涼時也。背摹大意，六月五日，馬元馭。
〈十二〉蛺蜨知春意，隨蜂遶綠苔。因風忽爭起，還向玉階來。壬午（1702）孟夏之望，棲霞。
題跋：
人間跌宕夢齋老，天下風流月掛花。一壺不覺叢邊盡，暮雨霏霏？濕鴉。鐵面若鬚洛陽客，玉衾紅領會稽仙。街頭相見如相識，恨滿東風意不傳。辛未八月，為渭老長兄正字。確齋弟儀。
鈐印：「扶」（兩鈐）、「曦」（兩鈐）、「棲霞散人」、「元」（四鈐）、「馭」（四鈐）、「雲根小築」（三鈐）、「臣元馭」（三鈐）、「南沙居士」（三鈐）、「元馭」（兩鈐）、「元馭」、「南沙」（兩鈐）、「棲霞子」（四鈐）、「扶曦」、「揖山堂」、另一印漫漶不辨。
藏印：「周儀私印」、「太一氏」、「黃葉山莊」、「古歡軒」、「劍泉二十年精力所聚」。
〈一〉露井僲姿。法崔囪白。扶風馬元馭。
〈二〉沈孟堅師錢舜舉，其兼工帶寫，一種艷麗中絕無脂粉氣，雖刻意摹之，正不能及。馬元馭。
〈三〉影搖江浦月，香引擢歌風。扶曦。
〈四〉煙橫寒食雨，燕掠杏花風。馬元馭。
〈五〉秋草一庭花色異，最宜雨後隔簾看。法于青年。棲霞散人並題。
〈六〉趣織催人織，苦向霜夜鳴。東鄰有懶婦，不聞機杼聲。元馭題於雲根小築。
〈七〉日出秦樓明，條垂露尚盈。蠶飢心自急，開奩粧不成。令月開和景，處處動春心。掛筐須葉滿，息倦重枝陰。元馭寫蠶桑，書蕭子題句。
〈八〉北宋丘慶餘精於草蟲，極其形似，風韻高雅，為世所推。少師藤昌祐，晚年過之。此幅追擬其意，捉筆茫然，知未能神肖也。南沙。
〈九〉撫徐崇嗣設色。南沙馬元馭。
〈十〉陶令籬邊色，羅含宅裡香。擬黃要叔。元馭。
〈十一〉昔於邗江見陳仲仁〈高柳鳴蟬圖〉，蕭散不凡，披覽之際，恍如暑雨初收，秋風乍涼時也。背摹大意，六月五日，馬元馭。
〈十二〉蛺蜨知春意，隨蜂遶綠苔。因風忽爭起，還向玉階來。壬午（1702）孟夏之望，棲霞。
題跋：
人間跌宕夢齋老，天下風流月掛花。一壺不覺叢邊盡，暮雨霏霏？濕鴉。鐵面若鬚洛陽客，玉衾紅領會稽仙。街頭相見如相識，恨滿東風意不傳。辛未八月，為渭老長兄正字。確齋弟儀。
鈐印：「扶」（兩鈐）、「曦」（兩鈐）、「棲霞散人」、「元」（四鈐）、「馭」（四鈐）、「雲根小築」（三鈐）、「臣元馭」（三鈐）、「南沙居士」（三鈐）、「元馭」（兩鈐）、「元馭」、「南沙」（兩鈐）、「棲霞子」（四鈐）、「扶曦」、「揖山堂」、另一印漫漶不辨。
藏印：「周儀私印」、「太一氏」、「黃葉山莊」、「古歡軒」、「劍泉二十年精力所聚」。
拍品資料及來源
Artist’s inscriptions:
(1) Divine peach blossoms. After Cui Chuangbai’s method. Fufeng Ma Yuanyu.
(2) Shen Mengjian studied Qian Shunju’s (Qian Xuan) style, which is both descriptive and impressionistic. In its pervasive beauty there is not a whiff of vulgarity. Though I have endeavored to imitate it, I cannot match it. Ma Yuanyu.
(3) Reflected in the river, the moon wavers; fragrance invites the boatman’s songs. Fuxi.
(4) Mist floats in the rain on Cold Food Festival; swallows dart in the wind through apricot blossoms. Ma Yuanyu.
(5) Flowers look especially striking in a field of autumn grasses. It is best to view them through a screen after rain. After Qingnian’s (Zhou Ting) method. Painted and inscribed by Xixia sanren.
(6) A cricket, spurring weavers on, cries bitterly into the frosty night. But in the east is a lazy woman, and no loom can be heard. Inscribed by Yuanyu at a mountain hut.
(7) The rising sun shines over Qin Tower. The hanging branches are still covered by dewdrops. The hungry silkworm is of course anxious, not able to finish its make-up. The auspicious moon opens a scene of harmony; every place stirs with the spirit of spring. One cannot hang the basket until it is full of leaves. One cannot rest but under the branches’ shade. Yuanyu painted this scene of a silkworm on a mulberry tree and inscribed Xiaozi’s poem.
(8) Qiu Qingyu of the Northern Song was an expert in painting plants and insects. He could capture their appearance extremely accurately and had an elegant style, and was known for such. In his youth he studied the work of Teng Changyou, and in his old age he surpassed him. In this painting I tried to imitate Qiu’s style, but my brush failed to grasp it. I know I have not captured his spirit. Nansha.
(9) Imitating Xu Chongsi’ use of color. Nansha Ma Yuanyu.
(10) The scenery beyond Tao Qian’s fence, the fragrance within Luo Han’s house. After Huang Yaoshu. Yuanyu.
(11) Once in Hanjiang I saw Chen Zhongren’s Singing Cicadas on a Tall Willow, which was insouciant and transcendent. When I unrolled and viewed it, I felt the sudden chill of the time when summer rain had just stopped and autumn wind had begun to blow. Imitating the essence of his style on the fifth day of the sixth month. Ma Yuanyu.
(12) The butterflies have an inkling of spring, and following the bees circle the green moss. A sudden wind gust flares, but they still veer towards the flowers. On the fifteen day of the fourth month of the renwu year. Qixia.
(1) Divine peach blossoms. After Cui Chuangbai’s method. Fufeng Ma Yuanyu.
(2) Shen Mengjian studied Qian Shunju’s (Qian Xuan) style, which is both descriptive and impressionistic. In its pervasive beauty there is not a whiff of vulgarity. Though I have endeavored to imitate it, I cannot match it. Ma Yuanyu.
(3) Reflected in the river, the moon wavers; fragrance invites the boatman’s songs. Fuxi.
(4) Mist floats in the rain on Cold Food Festival; swallows dart in the wind through apricot blossoms. Ma Yuanyu.
(5) Flowers look especially striking in a field of autumn grasses. It is best to view them through a screen after rain. After Qingnian’s (Zhou Ting) method. Painted and inscribed by Xixia sanren.
(6) A cricket, spurring weavers on, cries bitterly into the frosty night. But in the east is a lazy woman, and no loom can be heard. Inscribed by Yuanyu at a mountain hut.
(7) The rising sun shines over Qin Tower. The hanging branches are still covered by dewdrops. The hungry silkworm is of course anxious, not able to finish its make-up. The auspicious moon opens a scene of harmony; every place stirs with the spirit of spring. One cannot hang the basket until it is full of leaves. One cannot rest but under the branches’ shade. Yuanyu painted this scene of a silkworm on a mulberry tree and inscribed Xiaozi’s poem.
(8) Qiu Qingyu of the Northern Song was an expert in painting plants and insects. He could capture their appearance extremely accurately and had an elegant style, and was known for such. In his youth he studied the work of Teng Changyou, and in his old age he surpassed him. In this painting I tried to imitate Qiu’s style, but my brush failed to grasp it. I know I have not captured his spirit. Nansha.
(9) Imitating Xu Chongsi’ use of color. Nansha Ma Yuanyu.
(10) The scenery beyond Tao Qian’s fence, the fragrance within Luo Han’s house. After Huang Yaoshu. Yuanyu.
(11) Once in Hanjiang I saw Chen Zhongren’s Singing Cicadas on a Tall Willow, which was insouciant and transcendent. When I unrolled and viewed it, I felt the sudden chill of the time when summer rain had just stopped and autumn wind had begun to blow. Imitating the essence of his style on the fifth day of the sixth month. Ma Yuanyu.
(12) The butterflies have an inkling of spring, and following the bees circle the green moss. A sudden wind gust flares, but they still veer towards the flowers. On the fifteen day of the fourth month of the renwu year. Qixia.