秘殿珠林續編(乾清宮),頁163&*故宮書畫錄(卷五),第三冊,頁456&*故宮書畫圖錄,第八冊,頁345-346&*1.〈明丁雲鵬白馬馱經圖〉,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140。 2.林柏亭、張華芝,〈明丁雲鵬白馬馱經〉,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95-96。 &*丁雲鵬(一五四七-一六二八尚在)。詩畫俱佳,董其昌以摩詰相擬。身為佛門弟子,薰冶既深,佛釋畫自漸趨於專門。 案,漢明帝時曾派遣蔡愔前往天竺求取佛經。兩年後,天竺僧法蘭與迦葉摩騰自西域以白馬馱經來至中國,並創置白馬寺。此圖即繪白馬馱經的故事。完成於天啟乙丑(一六二五),為丁氏晚年作品,脫去早年之繁細作風,而趨疏簡清逸之畫境。&*Ting Yün-p'eng was influenced by his father and came to enjoy painting. He also studied under Chan Ching-feng. The artist-critic Tung Ch'i-ch'ang praised his poetry and painting. A devout Buddhist, Ting gradually specialized in Buddhist subjects. According to Han historical records, Ts'ai Yin was dispatched to India in 65 AD to collect Buddhist scriptures. After two years, two Indian monks led a white horse laden with sūtras. Upon arrival in China, they established the White Horse Temple. This work illustrates the story and shows attendants leading the white horse with the monks behind. It was done in 1625, when Ting was aged 78. Shedding the fine style of his early period, this late work appears increasingly relaxed and pure in manner.&*丁雲鵬(西元一五四七-一六二八尚在)。詩畫俱佳,董其昌以摩詰相擬。身為佛門弟子,薰冶既深,佛釋畫自漸趨於專門。漢明帝時曾派遣蔡愔前往天竺求取佛經。兩年後,天竺僧竺法蘭與迦葉摩騰自西域以白馬馱經來至中國,並創置白馬寺。此圖即繪白馬馱經故事,完成於天啟乙丑(西元一六二五年),為丁氏晚年作品,脫去早年之繁細作風,而趨疏簡清逸之畫境。(20091016)&*Ding Yunpeng was gifted in both painting and poetry, with his famous contemporary Dong Qi-chang comparing him to the renowned Tang dynasty poet-painter Wang Wei. As a devout Buddhist, Ding came to specialize in Buddhist subjects. The Han dynasty emperor Mingdi sent Cai Yin to India to acquire Buddhist scriptures. Two years later, two Indian monks (Gobharana and Kasyapa) traveled through China’s western regions, escorting a white horse with sutras on its back and finally establishing the White Horse Temple. This painting illustrating that story was done in 1625. A late work by Ding Yunpeng, it does not have the finesse of his earlier style but tends to be looser and more untrammeled.(20091016)