秘殿珠林續編(乾清宮),第一冊,頁78 &*故宮書畫錄(卷五),第三冊,頁81-82 &*故宮書畫圖錄,第二冊,頁91-92&*1.李玉珉,〈(傳)宋賈師古大士像〉,收入李玉珉主編,《觀音特展》(臺北:國立故宮博物院,2000年初版),頁191。 2.〈宋賈師古大士像〉,收入劉芳如主編,《書畫裝池之美》(臺北:國立故宮博物院,2008年初版一刷),頁58。 3.本社,〈賈師古大士像〉,《故宮文物月刊》,第27期(1985年6月),頁1。 &*觀音菩薩悠閒自在地靠在岩石上,手中淨瓶灑下的甘露化成一朵蓮花。觀音的輪廓和五官以細筆鉤畫,勻整細緻,衣紋線條粗細變化很大,強勁有力。根據畫上「師古」兩字的款題,過去認為這件畫軸是宋代賈師古(活動於1131-1162)的作品,可是畫中畫石的方法和明初的山水畫近似,應該是一幅明代畫家假借賈師古之名的作品。雖然如此,但他的繪畫技巧純熟,仍不失為一幅佛教畫的佳作。&*Chia Shih-ku was a native of K'ai-feng, in Honan province. He served at the court painting academy during the Shao-hsing reign (1131-1162). A skilled painter of religious subject, Chia Shih-Ku followed the style of Li Kung-lin. His pai-miao (ink outline) figures have an untrammeled air. The bodhisattva, adorned with jewels, is seated on a rocky cliff. The water of Buddha-truth pours out from her vase and transforms into a lotus flower. Her manner is vary relaxed. Cliff rocks are modeled with axe-cut texture strokes ,and the brushstrokes are vigorous and unrestrained. The bodhisattva's hair and details of her face are all meticulously outlined ; the folds of her robes are distinctly executed with an angular brushline. The brush work within the painting is lively, full of variation , and nicely balanced.&*Kuan-yin sits leaning on a rock as the water of Buddha-truth pours from the vase she is holding and transforms into a lotus blossom. The details of Kuan-yin are rendered with exceptionally fine brushwork. In contrast, the drapery lines vary considerably in thickness and are done with great force. Judging from the “Shih-ku” signature to the lower right of the figure, this work was considered at one point to have been painted by the Sung artist Chia Shih-ku. However, the treatment of the rocks is similar to landscape painting of the early Ming (l368-1644), indicating that the signature is a later addition. Nevertheless, the mature and skillful painting techniques still make this a masterpiece of Ming dynasty Buddhist art.