马家桐 八开花鸟画集： 纸本 设色：19 x 27 x 3 cm. 钤印：马家桐印； 题诗句：____________________。拍品来源：北美地区资深书画收藏家 ，珍藏品，真迹。注释：马家桐，清朝人，籍天津，字景韩，又作景含、井繁、醒凡,别署耿轩主人、橄澹居士、乐思居士、厢东居士、百印庐主等等。因他得到一枚汉印,印文适为“佳同”二字,于是更名为家同。他曾师从天津著名画家孟毓梓(绣村),与张兆祥等是同门师兄弟，被誉为清同治、光绪年间“津门画家四子”之一。工山水花卉，临摹古迹，尤能乱真。《清朝书画家笔录》 擅勾勒花鸟，与张和庵友善，得设色之法。擅摹仿，临古乱真，曾获旧绢，戏临宋人花鸟一幅，而鉴赏家不以为伪品，其画有名于时，后人珍之。马家桐擅画花鸟、山水，间作人物及佛像。他的花鸟画，远师徐熙、王渊、吕纪、 恽南田、蒋廷锡等名家，大都描写四季花木、山禽水鸟、溪渚坡石等传统题材，但在形象、意境的创造上别开生面，运用色彩也有独到之处。其笔下的花鸟，肖古而不泥古，既不失“院体”工整凝炼的真实感，又调和了工笔与写意、敷彩与水墨以及文人强调笔情墨韵的不同体派，变化为工稳清逸的新画风。他善于从不同季节中抓住最具特色的景象，描绘出花木禽鸟生动自然而优美的形态，布局谨严，设色妍雅，笔意洒脱，阴阳向背颇具立体感，整个画面充满明朗欢愉的气氛。在马家桐的花鸟画中，屡见署有“摹锦衣卫指挥吕纪”的题识。他钦佩吕纪以绘画进谏孝宗皇帝的做法，因此有些作品刻意描绘家禽鸟雀在大雪严寒中相互偎依、患难相济的情状。这无疑源自吕纪的《雪景翎毛》、《雪岸双鸿》等名作。可见马家桐也是有意在画作中隐寓着有关社会、人生的见解，从而按照艺术的规律，丰富了花鸟画的思想内涵。他的山水画取法陈靖，基本属于“四王”一脉，不仅是追求形式，而且能运用古人技法结合实景，灵活而多变。丘壑布置富于变化，青绿与水墨都渲染得宜，浑厚而秀润，具有工整稳健、气闲神静的特点。----------------------------------------- Ma Jiatong's Paintings of Eight Flowers and Birds: Paper Ink and color: 19 x 27 x 3 cm. Seal: Ma Jiatong's seal; Inscribed verse: ____________________. Lot source: senior calligraphy and painting collectors in North America, cherished collections, original works. Note: Ma Jiatong, a native of the Qing dynasty, was born in Tianjin, and was written by Jinghan, also named Jinghan, Jing Fan, and Xingfan. Don't signify Geng Xuan, Jushi Rudan, Jushi Lesi, Jushi Xiangdong, Master of Baiyin House and so on. Because he was given a Chinese seal, the seal was suitable for the two characters "Jiatong", so he changed his name to Jiatong. He once studied under the famous Tianjin painter Meng Yuzi (Xiu Village), and was a fellow teacher with Zhang Zhaoxiang, and was known as one of the "Four Sons of Jinmen Painters" during the Tongzhi and Guangxu periods of the Qing Dynasty. Industrial landscapes and flowers, imitating historical sites, are especially true. "Records of Calligraphers and Painters of the Qing Dynasty" is good at sketching flowers and birds, and is friendly with Zhang He'an. He was good at imitating, and he was in the realm of ancient times. He once won an old silk painting of flowers and birds in the Song Dynasty, but connoisseurs did not regard it as a counterfeit. His paintings were famous in the times and cherished by later generations. Ma Jiatong is good at painting flowers and birds, landscapes, interlacing figures and Buddha statues. His flower-and-bird paintings, from famous artists such as Xu Xi, Wang Yuan, Lu Ji, Yun Nantian, Jiang Tingxi, etc., mostly describe traditional themes such as flowers and trees in the four seasons, mountains and birds, and Xizhupo stone, but they are unique in the creation of images and artistic conceptions. The use of color is also unique.The flowers and birds in his pens are ancient but not muddy. They do not lose the neat and condensed realism of the "court style", but also reconcile the different styles of fine brushwork and freehand brushwork, color and ink painting, and the literati's emphasis on brushwork and ink rhyme. The new style of painting is stable and clean. He is good at capturing the most distinctive scenes from different seasons, depicting the vivid, natural and graceful forms of flowers, trees, birds and birds. The layout is rigorous, the colors are elegant, the brushwork is free and easy, the yin and yang are three-dimensionally facing the back, and the whole picture is full of bright and cheerful. atmosphere. In Ma Jiatong's flower-and-bird paintings, there is often an inscription titled "Mu Jinyiwei Commanding Lu Ji". He admired Lu Ji's way of painting emperor Xiaozong's advice, so some works deliberately depict the situation of poultry and birds nestling in the heavy snow and cold. This is undoubtedly derived from Lu Ji's famous works such as "Snow Scenery Ling Mao" and "Snow Shore Shuanghong". It can be seen that Ma Jiatong also deliberately implied insights about society and life in his paintings, thus enriching the ideological connotation of flower and bird painting in accordance with the laws of art. His landscape painting method Chen Jing basically belongs to the line of "Four Kings". It is not only the pursuit of form, but also the use of ancient techniques combined with the real scene, which is flexible and changeable. The layout of the hills is full of changes, the green and ink are rendered appropriately, vigorous and beautiful, with the characteristics of neatness, stability, and calmness.