君子赏梅 - 美国大都会艺术博物馆展品查阅

品名（中）	君子赏梅
品名（英）	Scholar admiring plum blossoms
入馆年号	1988年，1988.153.2
策展部门	亚洲艺术（Asian Art）
创作者	Unidentified artist
创作年份	公元 1200 - 公元 1299
创作地区
分类	绘画（Paintings）
尺寸	图像: 37 1/4 x 11 1/2 英寸 (94.6 x 29.2 厘米) 整体 with mounting: 71 x 16 1/8 英寸 (180.3 x 41 厘米) 整体 with knobs: 37 1/4 x 18 英寸 (94.6 x 45.7 厘米)
介绍（中）	这片小山水是蒙古人占领时期南宋画院延续风范的罕见例子。随着1368年中国本土明朝的建立，宋代风格再次成为明朝绘画学院的典范。这幅画表明，宋式的实践者在十四世纪继续工作，弥合了两个正式学院之间的差距。这幅画以宋大师马源（约1190-1225年）的模式创作，延续了宋朝的主题和生动的描述方式，但使用更抽象的轮廓笔触来定义岩石和树干，反映了元文艺术家对书法画笔风格的发展。这种类型的画作在中国几乎没有幸存下来;所有已知的例子都来自日本，这种风格和高大的窄幅对室町时代（1333-1573）的日本艺术家产生了重要影响。
介绍（英）	This small landscape is a rare example of the continuation of the Southern Song Painting Academy manner during the Mongol occupation. With the establishment of the native Chinese Ming dynasty in 1368, the Song style again returned to prominence as the model for the Ming Imperial Painting Academy. This painting demonstrates that practitioners of the Song style continued to work through the fourteenth century, bridging the gap between the two formal academies. Executed in the mode of the Song master Ma Yuan (act. ca. 1190–1225), the painting continues the subject matter and vividly descriptive manner of the Song but uses more abstract outline strokes to define rocks and tree trunks, reflecting the development of a calligraphic brush style by Yuan scholar-artists. Almost no paintings of this type survive in China; all known examples come from Japan, where this style and tall narrow format had an important influence on Japanese artists of the Muromachi period (1333–1573).