本幅乃抗戰勝利之後,日本歸還我國的古物之一。畫符中央為主尊無量壽佛,頭戴五葉寶冠,身著天衣,手捧寶瓶,瓶中插一如意樹,象徵長壽。本軸上天下地,日月水土並現。其圖像與形式,均謹遵藏傳佛教的傳統。然而本幅佛像面容相當中國化,衣紋線條又極流暢,當非出自西藏畫師之手。本軸的裱綾乃乾隆皇帝專為裱褙佛畫之用,故知此畫當出自清宮漢地藝人之手。 乾隆皇帝事母至孝,曾為皇太后,多次大規模的繪製無量壽佛,以祈福祝壽,此畫很可能即為此類之作。 &*This painting is one of the treasures returned to China after the Sino-Japanese war. All the buddhas in this composition are manifestations of Amitāyus Buddha. The main buddha wears a precious crown with five petals, and he holds a precious vase out of which a ju-i tree symbolizing longevity grows. The top portion of this painting represents the heavens while the lower portion signifies the earth. The sun, moon, and water are also represented. The iconography and form adhere strictly to the tradition of Tibetan Buddhism. However, the treatment of the facial features and the fluid drapery lines are rather Chinese, suggesting that this work was not painted by a Tibetan master artist. Also, because the mounting is the kind used by the Ch’ien-lung emperor for Buddhist paintings, we can surmise that this scroll was painted at Chinese court. The Ch’ien-lung emperor was extremely respectful and filial toward his mother, the empress dowager. On many occasions, he ordered large-scale paintings of Amitāyus Buddha to wish his mother a long life. This Painting most likely was commissioned for such a purpose.