明陳洪綬蓮池應化圖 軸
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- 資料識別：
- 故畫000646N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 陳洪綬
- 主題與關鍵字：
- 奇石 佛 菩薩 觀音
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 174.1x72.1公分、全幅 74公分
- 關聯：
- 秘殿珠林續編（乾清宮），頁315&*故宮書畫錄（卷四），第二冊，頁476&*故宮書畫圖錄，第九冊，頁81-82&*1.葛婉章，〈明陳洪綬畫蓮池應化圖〉，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119-120。 2.李玉珉，〈明陳洪綬蓮池應化圖〉，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205-206。 3.〈明陳洪綬蓮池應化圖〉，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482。 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42-43。 5.張啟文，〈從時空背景看金農的佛教信仰與佛畫〉，《議藝份子》，第4期(2002年3月)，頁27-45。 &*陳洪綬（一五九九－一六五二），浙江諸暨人。字章侯，號老蓮，老遲、雲門僧等。他擅長畫花鳥、草蟲和山水，人物畫更是精妙絕倫。高大的太湖石前站著三位出家人，他們濃眉高鼻，高頭大馬，看上去好像外國僧人。根據畫上作者的題款，祂們是阿彌陀佛、觀世音和大勢至菩薩。這三位人物的造形怪異，頭和身體不成比例。畫家用方硬的線條來鉤畫衣紋，看上去好像鋼絲一樣，挺勁有力。 &*The Amitâbha Triad Ch’en Hung-shou (1599-1652) Ming Dynasty Ch’en Hung-shou, a native of Chekiang, was known for the distorted style of his bird-and-flower, insect-and-grass, and landscape painting. His figure paintings were also unparalleled. Three Buddhist monks proceed in front of a tall perforated garden rock. Their heavy facial hair and features suggest that they are foreigners. According to the artist’s inscription, they represent the Amitâbha Buddha accompanied by the bodhisattvas Kuan-yin and Mahâsthâmaprâpta. The unusual appearance of the figures is accented by the size and disproportion of the heads to the bodies. To outline the drapery, ch’en Hung-shou used his distinctive angular strokes that look as tough and powerful as steel wire. &* 陳洪綬（西元一五九九－一六五二年），浙江諸暨人，號老蓮。晚明人物畫大家，明亡後出家為僧，自稱悔僧、雲門僧。本幅為陳洪綬出家之後作品。據畫上作者題款可知，畫中三位羅漢實乃淨土宗西方三聖：阿彌陀佛、觀音菩薩與大勢至菩薩。題款最後兩句出自﹝普門品﹞：「若以菩薩應以聲聞身得度者，即現聲聞身，而為說法像」。此畫將普門觀音「無所不應化」的觀念，巧妙的用之於淨土佛、菩薩畫境，誠為佛畫意念的突破與創新。 &*Manifestations of the Three Holy Ones by the Lotus Pond Ch’en Hung-shou (1599-1652) Ming Dynasty Ch’en Hung-shou, a native of Chu-chi, Chekiang province, was also known by his sobriquet Lao-lien. He was a great figure painter of the late Ming dynasty. After the fall of the Ming dynasty in 1644, he became a monk and called himself Monk Hui and Monk Yün-men. Ch’en Hung-shou painted this after he became a monk. According to his inscription, the three figures painted as lohans represent the three holy ones in Pure Land Buddhism: the Buddha Amitâbha and the Bodhisattvas Kuan-yin and Mahâsthana. The last two phrases in the inscription are from the Samanta-mukha Chapter of the Lotus Sûtra: “Kuan-yin will appear in the form of a lohan to expound the Dharma (Buddhist doctrine) to a lohan.” Ch’en Hung-shou has used the idea that Kuan-yin can assume a myriad of shapes to paint the Buddha and Bodhisattvas of the Western Paradise as lohans, thus introducing a new creativity to Buddhist painting.
- 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
