明張宏應真觀梅圖 軸
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- 資料識別：
- 故畫002326N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 張宏
- 主題與關鍵字：
- 服飾（對人） 梅（白．紅．蠟梅） 溪澗、湍泉 羅漢（應真、尊者）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 明思宗崇禎三年（1630）
- 格式：
- 本幅 118.1x56.6公分、全幅 83公分
- 關聯：
- 秘殿珠林續編（乾清宮），頁316&*故宮書畫錄（卷八），第四冊，頁88&*故宮書畫圖錄，第八冊，頁381-382&* 張宏（西元一五七七－一六六八年後），江蘇吳郡人。字君度，號鶴澗。工畫山水，筆意古拙，墨法濕潤，又善寫意人物，天然入格。 此畫作於明末崇禎三年（西元一六三０年），是一幅饒有天台禪意的羅漢畫。已經悟道的羅漢，不住世弘法，卻似享受生活中無常可變的情趣，與原始佛教羅漢清心離欲的面貌有所不同。這正是蘇東坡所謂「山色豈非清淨身，溪聲便是廣長舌」的禪喜寫照；觀（眼根）梅（色塵）可修「因緣觀」，參透因緣假合的無常空境。 &* Chang Hung (style name Chün-tu, sobriquet Ho-chien) was a native of Wu county, Kiangsu province. He was skilled in painting landscapes. His brushwork captured the feeling of ancient simplicity, and his ink was moist and rich. He also excelled in figure painting and created his own style. This painting, executed in 1630, depicts a lohan who seems fully aware of the teaching of the T’ien-t’ai sect in meditation. He has already attained enlightenment and no longer lives in the cycle of samsara, or endless reincarnations. He appears as though he enjoys the “impermanence of life” (anitya), and his expression is different from that of the earliest lohans who denied all desires and pleasures. This is a depiction of Su Tung-p’o’s statement: “Aren’t the mountain colors the clean and pure body of the Buddha, and the sound of streams the voice of his sermon?” Contemplating plum blossoms is a way of meditating upon the nidânas, the impermanence of things.
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 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
