佛像马家的最后传人马公显

Ma Gongxian and His family of Buddhist Image Artists

本文通过对流传到日本的两件作品《药山李翱问答图》及《角鹰图》的研究,认为《图绘宝鉴》称马公显是马远伯父是错误的,而应以《画继补遗》所记载,马公显是马远之孙为正确,故他是"佛像马家"的最后传人。马公显与梁楷、牧溪是同时代人,他们的作品流传到日本,与南宋时期禅宗的发展,即中日僧侣频繁往来有密切关系。马公显的创作使用水墨"减笔"技法,除了禅宗题材外,他也画山水花鸟,代表了当时的新风尚,但却遭到了文人们的批评排斥,故牧溪、马公显的作品早已在中国本土绝迹,而在异国他乡生根开花,产生了深远的影响。

This paper agrees to the judgment from Huà Jì BǔYí that Ma Gongxian is Ma Yuan's grandson but refutes the different view from Tú Huì Bǎo Jiàn that Ma Gongxian is Ma Yuan's uncle,both of which are the monographs on Chinese art history of the Yuan dynasty,based on the two Chinese traditional masterpieces named The Dialogue on The Zen between Yaoshan and Liao(Yàoshān Lǐáo Wèndá Tú),and A Hawk(Jiǎo Yīng Tú) now collected in Japan,then concluds that Ma Gongxian should be regarded as the last inheritor of the Mas who excelled at the Buddhist images for generations.Ma Gongxian,Liang Kai and Mu Xi were of the same generation,whose works of art were introduced to Japan with the development of the Zen Buddhism in the Southern Song dynasty when the monks exchanged a lot between China and Japan.Ma Gongxian made his landscapes and the paintings expressing the thought of the Zen with the simplified ink-and-wash skill(Jiǎnbǐ),which represented a popular style but was criticized and rejected by the scholars at that time.It consequently led to absence of the works by Mu Xi and Ma Gongxian in China where they were born but found in other lands.