明吳彬畫魚籃觀音 軸
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- 資料識別：
- 故畫002986N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 吳彬
- 主題與關鍵字：
- 觀音 竹 宗教器用 服飾（對人） 善才、龍女 魚
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 187.8x85公分、全幅 113公分
- 關聯：
- 秘殿珠林續編（乾清宮），頁157&*故宮書畫錄（卷八），第四冊，頁85&*故宮書畫圖錄，第八冊，頁285-286&*吳彬（活動於一五六八－一六二七），字文中，一作文仲，號質先。福建莆田人，後來遷居金陵（今南京）。擅長畫山水、花鳥和佛教人物。畫中的魚籃觀音穿著草鞋，手上拿著經卷，身側的童子手提魚籃隨侍。畫中的觀音雖然是一位女子，不過臉作橢圓形，濃眉大眼，絲毫沒有女性纖秀柔美的特質。祂和童子的身體比例懸殊，人物拉長變形，衣紋線條用濃墨粗筆畫成，且多平行的弧線，全作怪異而有趣。&*Kuan-yin of the Fish Basket Wu Pin (fl. 1568-1627) Ming Dynasty Wu Pin was a native of Fukien who settled in Nanking. He specialized in painting landscapes, birds-and-flowers, and Buddhist and Taoist figures. In this painting of Kuan-yin of the Fish Basket, she wears straw sandals and holds a sūtra scroll as a child attendant stands next to her holding the fish basket. Though Kuan-yin here is supposed to be a young maiden, the heavyset features of the oval face seem to lack the beauty with which she was associated. The disproportionate size between her and the attendant makes her seem unusually large and elongated. The drapery lines are done using coarse strokes with thick ink. Though many of the lines are unnaturalistically curved and parallel, they impart an unusual yet appealing quality. &* 吳彬（活動於一五九一至一六四三年），福建莆田人，流寓南京，明萬曆年間以書畫聞名於世，所繪佛像人物，形狀奇特，自成一格。 魚籃觀音的起源有二說：一指唐代居士龐蘊的女兒靈照，乃觀音化身，曾賣竹漉離（魚籃）謀生。另據〔觀音感應傳〕，唐元和年間，陝西金沙灘有一絕色美女，挈籃賣魚，要求締婚者眾，女先後以能背誦〔普門品〕、〔金剛經〕、〔法華經〕為條件，後與能誦此三經的馬姓青年成婚，過門即死，入塚化去，眾人始悟此為觀音顯現。 &*Kuan-yin with a Fishing Basket Wu Pin (fl. 1591-1643) Ming Dynasty Wu Pin, a native of P’u-t’ien, Fukien, travelled to various cities in his life and eventually settled in Nanking. During the reign of Wan-li (1573-1620) he became known for his painting. He developed his own style of painting, and depicted religious figures whose forms were eccentric and unconventional. There are two stories concerning the origin of Kuan-yin with a Fishing Basket. One story is of Ling-chao, the daughter of the Buddhist layman Pang Yün of the T’ang dynasty. She made her living selling bamboo fish baskets, and was thought to be a transformation of Kuan-yin. The other story derives from The Stories of Kuan-yin’s Incarnations into the Mundane World. According to this text, a beautiful woman who sold fish lived in Chin-sha-t’an, Shansi during the Yüan-ho reign (706-720) of the T’ang dynasty. She had many suitors, and made memorizing the Samanta-mukha chapter of the Lotus Sūtra, the Diamond Sūtra, and later the entire Lotus Sūtra requirements for her hand in marriage. Eventually, she married a Mr. Ma who was able to recite all three. When she crossed the threshold of the groom’s house, however, she died. After she was buried, she was transformed and ascended to heaven. Thereupon people realized that this was an incarnation of Kuan-yin who taught people the Buddhist canon. &*1.葛婉章，〈明吳彬畫魚籃觀音〉，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118-119。 2.李玉珉，〈明吳彬畫魚籃觀音〉，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202-203。 3.〈明吳彬畫魚籃觀音〉，收入國立故宮博物院編，《晚明變形主義畫家作品展》（臺北：國立故宮博物院，1977年九月初版），頁212。 4.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41-42。 5.陳韻如，《因吳彬佛教人物畫風研究》，國立台灣大學藝術史研究所碩士論文，1996年。
- 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
