大松树景观 - 美国大都会艺术博物馆展品查阅

品名（中）	大松树景观
品名（英）	Landscape with great pine
入馆年号	1947年，47.18.63
策展部门	亚洲艺术（Asian Art）
创作者	Ma Lin【1180 至 1256】【中国人】
创作年份	公元 1226 - 公元 1250
创作地区
分类	绘画（Paintings）
尺寸	9 15/16 x 10 1/4 英寸 (25.2 x 26 厘米)
介绍（中）	从北宋的纪念性山水到单石树木的象征性意象的还原主义转换，是马琳的作品完成的，马的绘画摆脱了宋代画院早期作品的写实，而转向了一种新的抽象。在没有配诗的情况下，这个复杂场景的含义仍然不清楚。道教启发的意象似乎预示着超越或逃离。户外祭坛是崇拜和冥想的场所，仙鹤被称为道教神仙的交通工具和伴侣，常青松是长寿的象征，满月让人想起月亮女神嫦娥的宫殿，嫦娥的兔子准备长生不老药。然而神仙还没来，月亮还很远。这个人物固定在这个世界上，无法到达月亮，就像松树伸出的树枝一样。这棵树曲折而不安，有一种沉思和不祥的预感，很可能受到即将到来的蒙古入侵威胁的影响。
介绍（英）	The reductionist transformation from Northern Song monumental landscapes to symbolic images of single rocks and trees is complete with the work of Ma Lin. Ma's painting turns away from the realism of earlier Song Imperial Painting Academy works in favor of a new abstraction. In the absence of an accompanying poem, the meaning of this complex scene remains unclear. The Daoist-inspired imagery seems to hold out the promise of transcendence or escape. Outdoor altars are places of worship and meditation, cranes are known as the vehicles and companions of Daoist immortals, the evergreen pine is an emblem of longevity, and the full moon recalls the palace of the moon goddess, Chang E, whose hare prepares the elixir of immortality. Yet the immortals have not come, and the moon is far away. The figure is anchored to this world and can no more reach the moon than can the outstretched branches of the pine. There is a sense of brooding and foreboding in the tortuous, restless form of the tree that may well be influenced by the impending threat of Mongol invasion.