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,生卒年不詳,福建莆田人,流寓金陵,字文仲。神宗萬曆間(一五七三至一六一九)以書畫聞名,畫山水、佛像、人物皆能自立門戶,造型奇異,迥別於前人。 本幅為吳彬「畫楞嚴廿五圓通佛像」冊第七幅,表廿五圓通之第六-法因,即摩訶迦葉之圓通-六根中之法塵。佛像之形貌意態,類似城外人士,而其衲衣及襯景湖石,均博色明艷古雅,著重明暗光影,恰如西畫技法;用筆沈著而多變化,應是晚年圓熟作品。&*Mahãkãśyapa Wu Pin (active 1573-1619) Ming dynasty Wu Pin was a native of P'u-t'ien, Fukien. Residing in Nanking, he acquired fame as a calligrapher and painter during the Wan-li reign (1573-1619). Wu Pin painted landscapes, figures and Buddhist subjects, establishing individual, unusual styles in each genre. This is the seventh leaf of Wu Pin's album “The Twenty-five kinds of Perfect Understanding of Truth Illustrated by the Buddhist Deities at Śũrangama Assembly”, depicting the cause of dharma, Mahãkãśyapa's understanding of Truth. Mahãkãśyapa, a disciple of the Buddha, is portrayed with the features of a foreigner. The lake rock and the figure's clothing are touched with colors that add a feeling of elegance while careful attention to shading suggests some Western influence. This is probably a late work of the artist.