秘殿珠林續編(乾清宮),頁146&*故宮書畫錄(卷五),第三冊,頁365&*故宮書畫圖錄,第九冊,頁33-34&*1.李玉珉,〈明仇氏杜陵內史白衣大士像〉,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194-195。 &*仇氏,名珠,號杜陵內史,生卒年不詳,是明代名畫家仇英(約一四九四-一五五二)的女兒,江蘇太倉人。受到她父親的影響,仇氏的山水和人物畫都畫得很好。荷塘裡,荷葉迎風招展,白衣觀音端坐在青色的蓮花上,身側則是祂常拿在手中的淨瓶、楊柳和水杯。水面的荷葉、蘆葦都只用線條鉤勒輪廓,而觀音菩薩的衣衫卻塗染顏色,相映成趣。這軸觀音秀逸脫俗,是明代女性畫家作品中的佼佼者。&*The daughter of the famous artist Ch'iu Ying (ca. 1494-1552) went by the name Chu and the sobriquet Tu-ling nei-shih. Influenced by her father, she was good at landscape and figure painting. In this work, the White-robed Kuan-yin sits on a large blue lotus blossom rising from a pond and surrounded by lotus leaves and reeds. Resting on a lotus pod next to her is the water vase of purity that Kuan-yin is often shown holding. The vase rests in a water cup and holds a willow branch. The leaves and reeds are done in outlines and light ink washes. While other details include washes of color for contrast, especially the white pigment of Kuan-yin's robes. The elegance and otherworldliness make this a beautiful work by a female artist of the late Ming. &*仇氏(西元十六世紀後期),名不詳,明四大家之一仇英之女,號杜陵內史。工畫人物,細密精研極得父法,山水亦秀麗絕塵。 此畫白衣觀音坐蓮花上,畫法異常,不落俗套。水面蓮葉葦草都作勾勒,僅大士衣身,薄敷彩色,似為強調主題。通幅用筆,線條圓勁秀逸,其白描工夫之洗煉沈靜,已到不食人間煙火地步。 &*The painter of this work was the daughter of the famous Ch'iu Ying. Her name is not recorded. Tu-ling nei-shih was her sobriquet. A good figurist, she inherited her father's delicate and refined style. Her landscapes also possess a refined beauty. This work shows the PândaravâsinīKuan-yin (Goddess of Mercy) on a white lotus. Her painting technique exhibits a refined and coherent wholeness. The lotus and leaves are painted with double strokes. There is colour only on the figure, as if the intention was to emphasize strongly the subject. A freely-flowing elegance permeates throughout the painting, the result of long and arduous training that lifts her art above the ordinary.