馬守真 1548-1604 | 蘭竹芝石

款識：萬曆甲戌（1574）夏六月，畫於秦淮水榭，漫興寫此。湘蘭女史馬守真。鈐印：九畹中人、湘蘭、守真玄玄子 題跋：（吳湖帆）金陵馬四孃，具翠裏朱家、紅妝季布之名；以孔雀菴中，墜玉折釵、豪情狂態；綠水橋畔，珠歌翠舞，俠骨義腸，致遭白練裠輕誹惡謗。然其名因此大彰，為秦淮生色不少。原其故，調鉛弄墨，自有才調，非一味以色傾人也。長水朱十《曝書亭詞》有《好事近》一首題其畫，墨迹尚藏余笈，詞曰：「一十二樷蘭，意態（便）看成千百。净洗陳丹暗粉，露天然真色。紅妆季布舊聞名，画也動憐惜。試易管夫人款，有阿誰知得。」余與滌舸次韻「空谷出幽香，詩誦衞風三百。金粉南朝畫舫，想當年春色。羅帬酒涴淚青衫，絕蓻共珍惜。縱有騷離心事許，那人知得。」丁丑（1937）嘉平之朔，友人携示湘蘭畫卷属題，為書舊詞，以證墨緣。吳湖帆。鈐印：吳湖颿、冣好撝豪萬字一㱃拱千鐘（王同愈）丁丑嘉平月，八十三叟栩緣獲觀。鈐印：王同愈、王勝之（符銕年）娟娟蘭竹見丰神，萟事真堪憶此人。留得南朝遺恨在，祗今草木不成春。戊寅（1938）孟春，閑存居士銕年。鈐印：符銕年（吳徵）戊寅殘臘，袌鋗居士吳徵觀於滬西。鈐印：吳徵之印、袌鋗居士（莊嚴）馬守真畫傳世無多，余在故宮曾見其所繪墨蘭。惜今既退院之僧，無由取与。勘比此卷，敷色淡疋，天趣盎然，獨欠王百穀詩其後耳。庚戌（1970）中秋前夕，六一翁莊嚴戲墨。鈐印：洞天山堂、莊嚴慕陵長壽、莊嚴尚嚴（江兆申）明清之際，闺秀盡相習成風，惟相傳者絕少。所見惟扇頭數筆，或有小軸，亦澹墨草草。湘蘭於女史中為最傑出，昔曾見垢道人題《雙鉤蘭竹》一幅，著墨無多，便逸興翩翩，富文人藻翰之美。此卷雜畫蘭竹芝石，加以丹采。古人於長卷從不妄作，蓋手頭珍翫，備傳久遠，以故每慎重將事。湘蘭此作蓋亦復爾也。庚戌（1970）中秋，茮原江兆申敬識。鈐印：江兆申印、茮原近況 引首：（趙叔孺）馬月嬌蘭竹圖。繼曾先生雅屬，丁丑（1937）嘉平，趙時棡。鈐印：時棡之鉨、尗孺 題簽：明湘蘭子馬守真竹蘭啚卷。白厓山人藏，莼浦題籖。鈐印：莼浦 邱氏家族鑒藏印：邱永和鑒賞章、遼東邱永和藏、雲夢吳忠媖藏、邱扶輪印、邱扶輪藏畫 鑒藏印：（顧澐）顧澐之印、吳下顧澐（鄧邦述）羣碧樓（高培蘭）貽硯堂、香舲珍藏、高、培蘭珍藏、白厓山人（那志良）那志良印、心如過眼（李霖燦）李霖燦印、李莊舊人（李大木）大木

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Wu Hufan's colophon:
Ma Siniang or Jinling, wearing jade inside red chambers, was known as a Ji Bu in rouge [i.e. a woman of courage]. Inside her Peacock Hut, wearing her Broken Jade Hairpin, she was passionate and untrammeled. Living by a bridge over a verdant river, she sang pearl-like notes and danced jade-like dances. With the bones and stomach of a knight-errant, she attracted jealous belittling and libelous criticisms, but these only increased her renown greatly and brought glory to the Qinhuai River. The reason was that in mixing pigments and manipulating the brush, she had a talent and her own style, and she did not charm others by beauty alone. Zhu Shi of Changshui, in his Baoshuting ci, includes a lyric to the tune of "Haoshijin" inscribed on one of Ma's paintings, which he still possessed in his collection. The lyric is as follows: "Ten plus two orchids in a bush / Have the appearance and pose of hundreds and thousands. With the old rouge and face powder washed cleanly away, they reveal their natural colors. The Ji Bu in rouge was renowned in the past, and her paintings are still moving. If one replaced the signature with Madame Guan's, who could tell?" I follow Dige's rhyme in the following lyric: "From the empty valley emanates a subtle fragrance--the recitation of three hundred poems from Weifeng. The powdered women of the Southern Dynasty on their pleasure boats recall the spring colors of yesteryear. They in their silk dresses spilled wine, like tears, onto ones in blue robes, with whom they shared a precious farewell. How many sorrows they had in the hearts, who can know?"
A friend brought Xianglan's scroll painting to show me and asked me to inscribe it. I inscribed an old lyric to bear witness to my encounter with it.

Fu Tiannian's colophon:
The elegant orchids and bamboos are full of spirit. Her art suffices to make one recall her person. The sorrows of the Southern Dynasties still remain. But now the plants will never enjoy another spring.

Zhuang Yan's colophon:
Not many of Ma Shouzhen's paintings have survived. I have seen her ink orchids in the Forbidden City. It is a pity that as a monk who live reclusively in a monastery, I have no right to retrieve it to compare it with this one. The application of colors here is subtle and even, brimming with a natural feeling. All that is missing is a poetic inscription by Wang Baigu.

Jiang Zhaoshen's colophon:
During the Ming-Qing transition, there was a trend amongst literati women to learn the brush arts, but few of their works have survived. What I have seen are mostly casual fan paintings of a few strokes, or else small scrolls that are alike cursorily painted. Xianglan was the most outstanding of the female painters. I have seen a scroll painting of Orchid and Bamboo in the Double-Hook Method by her bearing an inscription by Goudaoren. Painted in just a few strokes, it was infused with an ethereal air and had a beautiful literary character. The present scroll of orchids, bamboo, lingzhi fungus, and rocks has colors additionally. Classical painters never made long scrolls recklessly; they were meant to be ready at hand to be appreciated for a long time, and thus were taken very seriously. The same is true for this work by Xianglan.