(b Qiantang, Lin’an [modern Hangzhou], Zhejiang Province, c. 1155; d after 1225). Together with XIA GUI, he is often mentioned in Chinese criticism as epitomizing the highest level of painting at the Southern Song (1127–1279) Academy centred in Lin’an (within the area of modern Hangzhou), Zhejiang Province (see CHINA, §V, 4(i)(c)).

Ma Yuan’s style, along with that of Xia Gui, was a corner-stone for the development of the ZHE SCHOOL in the Ming period. By the early 17th century Dong Qichang had identified Ma Yuan with a category of painting he designated the NORTHERN SCHOOL, connoting lack of individual spontaneity and scholarly refinement. In modern times this narrow view is greatly questioned, and Ma Yuan is considered one of the giants of Chinese painting.

Part of the Ma family

• Ma Yuan
  • Beijing, §2: Art life
  • Hangzhou
  • Lyveden
  • attributions
    • Ma: (2) Ma Lin
  • groups and movements
    • Li Tang
    • Northern school
    • Xia Gui
  • patrons and collectors
    • Album, §1: East Asia
    • Tensho Shubun, §1: Life and career
  • works
    • China, §V, 1(ii): Painting: Song to Qing
    • China, §V, 3(ii)(a): Chan Buddhist paintings
    • China, §V, 3(iv)(a): Landscape painting: Historical development
    • China, §V, 3(vii)(b): Figure painting: Sui to Song
    • China, §V, 4(i)(c): Court painters: Song