故宮書畫錄(卷八),第四冊,頁141&*故宮書畫圖錄,第二十三冊,頁62-69&* 吳彬,字文仲,福建莆田人,流寓金陵(南京),明神宗萬曆間(西元一五七三至一六一九)以書畫聞名,畫山水、人物,皆能自立門戶,造型奇異,迥別於前人。 本冊所畫二十五圓通佛像,出自〔楞嚴經〕。佛於楞嚴會上,對菩薩聲聞,問本何法而得圓通,觀音、大勢至等菩薩及目犍連、摩訶迦葉等聲聞,各舉自得之法答之。冊中人物多胡貌梵相,意態毫髮,敷色明豔古雅,筆墨亦蘊藉而富變化,取景及樹石造形,均著意誇大變形,古拙而有奇趣。 &* Wu pin, style name wen-chung, was a native of P'u-t'ien, Fukien, but spent most of his life in Nanking. He became well-known for his painting and calligraphy during the Wan-li reign (1573-1619); his landscapes, Buddhist images, and figures are all of an independent style. His forms and shapes are unusual and vastly different from earlier styles. This album contains twenty-five leaves depicting the twenty-five “great ones” of the Śūrańgama Sūtra. In this sutra, the Buddha asks various bodhisattvas and disciples how they discovered universal wisdom. Kuan-yin, Mahāsthāma and other bodhisattvas, and Maudgalaputra, Mahākāśyapa and other disciples present their individual replies. The many figures in this album are all non-Chinese. The delineation of their postures is very detailed, and the color on the works is graceful. The brushwork is quite varied and imbued with a refined taste. Tree and rock forms have been exaggerated as well, giving the works a crude and strange effect. &*此套冊頁共有二十五開,本次展出其中〈嶠陳五比丘〉、〈摩訶迦葉〉、〈嬌梵缽提〉、〈普賢〉四開。雖無作者署款、紀年,由冊後陳繼儒、董其昌跋文得知是吳彬所作,創作年代推測在萬曆30年(1602)之後。內容畫《楞嚴經》所講述的二十五種修行法門,簡稱為「二十五圓通」。吳彬像以奇異畫風為名,此套作品中山石造型保有較多奇特部份,但是就人物臉像而言,卻接近於平凡世間人臉。最近的研究指出,畫楞嚴二十五圓通冊的圖像設計與晚明居士佛教信仰相關。與一般解經圖像不同,吳彬不以經文敘事為依憑,而著重在表達獲取圓通法門之剎那。如〈嶠陳五比丘〉,吳彬就略去經文中對於獲取圓通過程的事件描繪,直接描繪五位已得圓通比丘環坐,並且自行加入一位僮僕持磬,利用樂器來暗示聲音,傳達透過「音聲」而能獲取的圓通法門。(陳韻如)&*1.〈明吳彬畫楞嚴廿五圓通佛像〉,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224。 2.林柏亭、張華芝,〈明吳彬持提菩薩〉,收入林柏亭、張華芝編,《畫馬名品特展圖錄》(臺北:國立故宮博物院,1990年元月初版),頁96。 3.李玉珉,〈明吳彬大士像〉,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204-205。 4.陳韻如,〈吳彬《畫楞嚴二十五圓通冊》研究 〉,《國立臺灣大學美術史研究集刊》,第13期(2002),頁167-199。 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。