秘殿珠林續編(乾清宮),頁180&*故宮書畫錄(卷五),第三冊,頁448&*故宮書畫圖錄,第九冊,頁35-36 &*1.葛婉章,〈明邢慈靜畫大士〉,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。 2.張華芝,〈邢慈靜畫大士〉,收入劉芳如、張華芝主編,《群芳譜 — 女性的形象與才藝》(臺北:國立故宮博物院,2003年初版一刷),頁177。 &*邢慈靜(西元十六世紀後期),山東臨清人,書畫家邢侗之妹,善竹石及白描大士。大士為佛教中菩薩之稱號,本幀所畫為觀世音菩薩,畫法用白描法,然以金代墨,故稱描金。大士法相莊嚴,足踏蓮瓣,衣裾飄揚,用筆簡潔有力。&*Hsin Tz'u-ching was a native of Ling-ch'ing, Shantung province. She was the sister of the calligrapher Hsin T'ung and was famous for paintings of bamboo, rock and pai-miao (outline drawing) Bodhisattve. In this painting, gold is employed to draw the figure. This method is called miao-chin (paint in gold) which is similar to pai-miao technique, only that gold powder is applied instead of the ink. The Bodhisttva stands on a lotus petal with her garment floating in the air. The terse lines of the face and dress reveals a controlled hand of the painter. &*邢慈靜(西元十六世紀後半—十七世紀初),山東臨邑人,書畫家邢侗(西元一五五一年—一六一二年)之妹,善竹石及白描大士,是明代閨閣書畫家。大士為佛教中菩薩稱號,本幀為觀世音菩薩。大士法相莊嚴,手持串珠,足踏蓮瓣,衣裾飄揚,祥靜中蘊含著動勢。全圖採用白描畫法,在暗色底紙上,以泥金代墨,使描繪對象更加顯目。紙幅上半並有畫家泥金書寫四言八句贊語,表達禮佛、尊佛之意。(20091016)&*Xing Cijing (native to Lingqing, Shandong) was the younger sister of the painter-calligrapher Xing Dong (1551-1612) and excelled at bamboo-and-stone themes and paintings of Guanyin in outline (baimiao) style, making her a prominent female painter-calligrapher of the Ming. “The Great” is a term in Buddhism used to refer to a bodhisattva, here depicting the compassionate Guanyin. She appears very dignified holding rosary beads and standing on a large lotus petal with her robes fluttering in the breeze, bringing movement to her static pose. The work was done in lines of gold ink on dark paper, making her stand out even more. It also features eight four-character lines of praise by the painter, expressing her Buddhist devotion.(20091016)