清陳書出海大士像 軸
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- 資料識別：
- 故畫000771N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 陳書
- 主題與關鍵字：
- 傢俱（屏風） 服飾（對人） 竹 觀音 宗教器用 江河、湖海 飲食器
- 出版者：
- 數位化執行單位:國立故宮博物院
- 日期：
- 清聖祖康熙五十二年（1713）
- 格式：
- 本幅 70.7x27.2公分、全幅 52公分
- 關聯：
- 秘殿珠林續編（乾清宮），頁320&*故宮書畫錄（卷五），第三冊，頁550&*故宮書畫圖錄，第十一冊，頁189-190&*1.葛婉章，〈清陳書畫出海大士像〉，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121。 2.李玉珉，〈清陳書出海大士像〉，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215。 3.馮明珠，〈陳書出海大士像〉，收入馮明珠主編，《乾隆皇帝的文化事業》（臺北：國立故宮博物院，2002年初版一刷），頁84。 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43。 &*陳書（西元一六六０－一七三六年），秀水（浙江嘉興）人。號上元弟子、南樓老人，適錢綸光，後以長子錢陳群仕貴，誥封太淑人。山水、人物、花鳥草蟲，無不擅長。 本幅畫觀音坐岩石觀海，取﹝普門品﹞中「聽觀音行，善應諸方所，弘誓深如海，歷劫不思議」之意。用筆清雋，墨色醇老，敷色淡雅，秀雅中饒有勁力，不似一般閨閣畫之文弱，畫時年五十三歲。 &*Ch’en Shu was the mother of Ch’ien Ch’en-ch’un who served as high official under the Ch’ien-lung Emperor. Due to his eminent position, she was awarded the title of T’ai-shu-jen. She excelled at landscape, figure, and bird-and-flower painting. This work represents Kuan-yin sitting on a rocky cliff gazing over the sea. A passage from the Samanta-mukha section of the Lotus Sūtra states, “Hearing of Kuan-yin’s conduct, virtue reaches all. Moved to pledge an oath as deep as the sea, every difficulty is endured.” The brushwork here is pure and extraordinary, the coloring gentle and elegant. The refinement conceals a tensile force that differs from the style normally associated with women painters. This was done by Ch’en at the age of 53. &*陳書（一六六０－一七三六），字南樓，號上元弟子、南樓老人。秀水（今浙江嘉興）人，是清代刑部侍郎錢陳群的母親。精通畫花鳥、草蟲、山水和人物畫。這是陳書五十三歲的畫作。觀音菩薩披著白色的頭巾，穿著白色的大袍，右手拿著楊柳，很舒適地坐在岸邊的一塊大石頭上。這件作品的人物秀美，衣紋緊密，線條流暢，畫石頭的筆觸揮灑，好似斧劈一般，繁簡互相輝映，產生有趣的視覺效果。&*Ch’en Shu, a native of Chekiang, was the mother of Ch’ien Ch’en-ch’un, a high official under the Ch’ien-lung Emperor (r.1736-1795). She was gifted at painting birds-and-flowers, insects-and-grasses, landscapes, and figures. This work was painted by Ch’en Shu at the age of 53. The White-robed Kuan-yin also wears a white cloth on her head. She holds a willow branch in her right hand as she sits leisurely on a rocky outcropping by the sea. The elegant features of the figure are complemented by the dense flowing drapery lines. The rich and angular texturing of the rocks looks like “axe-cut” strokes. The contrast between the delicate drapery and rough rocks thus create an interesting visual effect.&*Chen Shu, style name Nan-lou and sobriquet Shang-yüan ti-tzu, was a native of Chia-hsing, Chekiang. Specializing in bird-and-flower painting and also gifted at landscape and figures, she was rare among Ch'ing dynasty female painters for being talented in so many subjects. Ch'en Shu's son Ch'ien Ch'en-ch'ün (1686-1774) served at court and presented this work of the bodhisattva Kuan-yin for imperial viewing. As a result, in addition to the artist's seal and signature, here is also the seal and signature of Ch'ien Ch'en-ch'ün. Ch'ien, following convention, added the character “ch'en 臣” before the signature to identify him as a subject of the court. Also appearing are two seals reading Kung-po shang-shu and Ch'en Ch'ien Ch'en-ch'ün.
- 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
