明邵彌畫蓮華大士像 軸
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- 資料識別：
- 故畫000665N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 邵彌
- 主題與關鍵字：
- 蓮荷 枴杖 宗教器用 觀音 江河、湖海
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明熹宗天啟六年（1626）
- 格式：
- 本幅 65.1x34.4公分、全幅 57公分
- 關聯：
- 秘殿珠林續編（乾清宮），頁318 &*故宮書畫錄（卷五），第三冊，頁490-491&*故宮書畫圖錄，第九冊，頁237-238&*1.葛婉章，〈明紹彌畫蓮華大士像〉，收入葛婉章編，《妙法蓮華經圖錄》（臺北：國立故宮博物院，1995年初版），頁117-118。 2.李玉珉，〈明邵彌蓮花大士像〉，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198-199。 3.葛婉章，〈無緣大悲 觀達自在 — 院藏「普門品」觀音畫探究〉，《故宮文物月刊》，第112期（1992年7月），頁41。 &*邵彌（約一五九三－一六四二），長洲（今江蘇蘇州）人，字僧彌，號瓜疇。詩文、書法、繪畫樣樣精通。蓮池上蓮花朵朵，大士下顎有鬍子，頭戴披巾，身穿長衫，荷杖凌波而行。這幅大士的像貌和常見的觀音像大不相同，反而好像一個書生。畫中觀音的五官和手肘都用淡墨細筆鉤畫，十分細緻，可是其他部分則隨手寫來，瀟灑奔放。全作不遵循佛教圖像規矩，文人的色彩濃厚，是觀音畫的另一類型。&*Kuan-yin of the Lotuses Shao Mi (fl. 1593-1642) Ming Dynasty Shao Mi, a native of Soochow, was gifted at poetry, prose, calligraphy, and painting. On a pond with several lotus blossoms, Kuan-yin is shown here with a beard and a moustache. Walking on the water, he wears a cloth cap and a long robe and carries a figure-tipped cane. The appearance of Kuan-yin differs greatly from that usually associated with the deity, making the figure look more like a scholar. The facial features and hand are rendered in outlines of light ink for an exceptionally fine and delicate look. Other areas, such as the drapery, are rendered more sketchily for a free and loose quality. The unconventional rendering in the form of a scholar provides yet another artistic interpretation of Kuan-yin. &* 邵彌（約一五九三－一六四二），江蘇長洲人，字僧彌，號瓜疇。詩書畫並工，善畫山水，筆墨雅秀。 邵彌作畫逸筆草草，意趣清奇。這幅畫一大士經行蓮華池面，其容貌衣衫，有若尋常書生，與一般的觀音圖像大不相同。面目與手部用筆細致，其餘則信手畫來，顯得衣紋磊落的樣子。杖頭塑一小佛，很精緻，透露了化現者的非凡身份。〔法華經普門品〕中，觀音有八難、三十三身各種化身，本幅是「應以居士身得度者，即現居士身而為說法」經文的示現。 &*The Lotus Bodhisattva Shao Mi (fl. 1593-1642) Ming Dynasty Shao Mi was a native of Ch’ang-chou, Kiangsu. His style name was Seng-mi and his sobriquet was Kua-ch’ou. He was skilled as a poet, calligrapher and painter, and he excelled in landscape painting. His brushwork is elegant and refined. Shao Mi’s paintings were always executed with an extremely free, unrestrained brush and filled with pure and unique concepts. This painting depicts a bodhisattva walking on lotus pond. His face and clothes resemble those of a typical scholar, and this is quite different from most images of Kuan-yin. The brushwork used to depict details of his face and hands is meticulous while other elements are painted freely. The folds of his robes are executed in a particularly unaffected manner. Carved on the staff of the bodhisattva is a tiny buddha, very delicately painted revealing divine qualities. The Samanta-mukha chapter of the Lotus Sūtra describes the 33 manifestations Kuan-yin assumes to save human beings. The image depicted here is an expression of the passage: “If it is necessary to appear in the form of a Buddhist layman (Kulapati), then Kuan-yin will assume the form of a Buddhist layman to expound the Law.”
- 管理權：
- 國立故宮博物院
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- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
