生平与创作经历
赵孟頫是宋宗室后裔，却出仕元朝，这一选择影响后人评价。他兼为画家、书家与鉴赏家，把复古作为主动艺术策略，推动博学参照及书法性笔墨在后世文人画中的地位。
生涯作品选读
所选作品并非完整目录。推断生涯顺序之前，请先阅读日期范围及作者归属。
- 01
1271–1368
1271–1368
竹石幽兰图
- 材料与技法
- 手卷；纸本水墨
- 作者归属与角色
- 博物馆归属记录
- 收藏与来源
- 克利夫兰艺术博物馆
日期宽泛或不确定，不能据此确定生涯阶段。
John L. Severance Fund by exchange · 图像：公共领域（CC0）博物馆原文说明
Bamboo and orchids are motifs associated with the virtues of the scholar-official. Bamboo that bends but does not break stands for moral integrity, endurance, and loyalty. Wild, fragrant orchids that bloom in the shadow symbolize modesty and the aura of learnedness. Rocks are often considered to be miniature versions of mountains that form the universe. This monochrome ink painting is brushed on paper in a masterfully calligraphic manner. While the rocks are delineated in chalky, dry strokes showing the effect of flying white (feibai), the bamboo and orchids are drawn with a swift brush demonstrating the virtuosity of the artist.
馆藏文字 · 克利夫兰艺术博物馆 · CC0 - 02
c. 1302–3
c. 1302–3
水村图：渔父之乐
- 材料与技法
- 扇面裱为册页；绢本水墨设色
- 作者归属与角色
- 博物馆归属记录
- 收藏与来源
- 克利夫兰艺术博物馆
博物馆原文说明
The artist of this blue-green–style landscape, Zhao Mengfu, was a southerner, versed in all fields of literati pursuits, such as calligraphy and connoisseurship. A princeling of the defeated Southern Song dynasty, he was nevertheless successfully recruited by Khubilai Khan to the Mongol court in the new capital, Dadu (modern Beijing), in 1286. This painting combines a distinctively southern flat watery landscape combined with features of the northern landscape tradition, notably the spiky trees, branches, and rough-surfaced rocks.
馆藏文字 · 克利夫兰艺术博物馆 · CC0 - 03
c. 1310
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参考条目 · 本站不展示图像
媒介、笔触与色彩
媒介与表面
纸本水墨及绢本设色，保留笔与载体的不同关系。
笔迹与结构
书法轮廓、干笔及历史参照，让绘画成为博学视觉语言。
色彩与光线
节制设色或纯墨，让注意力转向节奏、间隔及笔迹边缘。
资料来源与延伸阅读
本项目原创教育性阐释；馆藏原文另行注明。每件选例均链接来源，未展示图像的参考条目不加入比较时间轴。