书体:

色彩:

浅设色

装裱形式:

册(折装‧方幅式)

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

收传印记：（坤卦方印）
收传印记：棠邨审定
收传印记：蕉林玉立氏图书

题跋资料:

题跋类别：作者款识；作者：马麟 马麟 

题跋类别：题跋；作者：    芳春雨霁印记：（坤卦印）题籤    马麟芳春雨霁

主题:

主要主题：山水雨景 ；其他主题：山水春景 ；其他主题：山水溪涧、湍泉溪涧；其他主题：树木  ；其他主题：树木竹 ；其他主题：花草杏花 ；其他主题：花草芦苇 ；其他主题：翎毛鸭．凫鸭

技法:

皴法斧劈皴

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第五册，页2490 收藏着录： 故宫书画录（卷六），第四册，页180 收藏着录： 故宫书画图录，第二十九册，页152-159 参考书目： 1.〈宋马麟芳春雨霁〉，收入陈阶晋、赖毓芝主编，《追索浙派》（台北：国立故宫博物院，2008年初版一刷），页165-166。2.〈宋马麟芳春雨霁〉，收入国立故宫博物院编辑委员会编，《山水画墨法特展图录》（台北：国立故宫博物院，1987年七月初版），页60。3.张华芝，〈宋马麟芳春雨霁〉，《故宫文物月刊》，第200期（1999年11月），页31。4.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。 内容简介（中文）： 马麟为马远之子，为宁宗（1195-1224在位）、理宗（1125-1264在位）朝宫廷画家。画上宁宗题字，旁钤杨皇后坤卦印。画早春时节雨后初晴，江边竹枝疏树斜倚，红花点点，群鸭戏水。取景与北宋苏轼「春江水暖鸭先知」诗句相合，为诗画结合例子。前景水鸭灵活小巧，或浮或潜。杏林烟岚迷蒙，红花隐现，反映出宫廷对花卉的细腻品赏。中景水岸延伸推移，清润墨色及细腻晕染，营造出林间幽远的空间感。画树承袭马远拖枝颤笔技法，并表现姿态横生树桠，引导观者欣赏物象造型和笔墨趣味。(20101015) 内容简介（英文）： The title of the painting from the four characters inscribed at the left by Emperor Ningzong (r. 1195-1224) has by its side the impression of the “Kungua” seal of his Empress Yang. The work depicts a scene of clearing not long after a rain in spring, bamboo appearing by the side of a river along with scattered trees and their diagonally extending branches. Red blossoms dot the scene as ducks frolic in the waters below. The contents of the scene are similar to that of a line of poetry from Su Shi of the Northern Song that reads, “Ducks are the first to know the warming waters of a river in spring,” making this an excellent example of combining poetry and painting.In the foreground are nimble and exquisite ducks in the water swimming or diving. The apricot trees are partially hidden in the mist, their red blossoms appearing and disappearing in it, reflecting the imperial court’s exquisite level of appreciation for flowers. The bank of the water extends back into the middleground with pure and moist ink tones and delicate washes, creating a sense of remote space among the trees. The painting of the trees follows in the heritage of Ma Yuan’s “dragged-branch” and “trembling brushwork” techniques. It also expresses a scene overflowing with branches in various gestures, leading the viewer to appreciate the wondrous forms and delight of brush and ink.(20101015)