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宋賈師古大士像 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者賈師古
- 色彩水墨
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@42.2x29.8
- 質地本幅@#@紙
- 題跋資料作者款識@#@賈師古@#@本幅@#@師古@#@楷書
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@乾隆鑑賞@#@@#@鑑藏寶璽@#@祕殿珠林@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫@#@@#@鑑藏寶璽@#@珠林重定@#@@#@鑑藏寶璽@#@祕殿新編@#@@#@鑑藏寶璽@#@乾清宮鑑藏寶@#@@#@鑑藏寶璽@#@太上皇帝@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@鑑藏寶璽@#@宣統鑑賞@#@@#@鑑藏寶璽@#@無逸齋精鑑璽
- 主題主要主題@#@佛道人物@#@觀音@#@@#@主要主題@#@山水@#@奇石@#@@#@其他主題@#@器用@#@宗教器用
- 參考資料收藏著錄@#@秘殿珠林續編（乾清宮），第一冊，頁78 @#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁81-82 @#@@#@收藏著錄@#@故宮書畫圖錄，第二冊，頁91-92@#@@#@參考書目@#@1.李玉珉，〈(傳)宋賈師古大士像〉，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191。 2.〈宋賈師古大士像〉，收入劉芳如主編，《書畫裝池之美》（臺北：國立故宮博物院，2008年初版一刷），頁58。 3.本社，〈賈師古大士像〉，《故宮文物月刊》，第27期（1985年6月），頁1。 @#@@#@內容簡介（中文）@#@觀音菩薩悠閒自在地靠在岩石上，手中淨瓶灑下的甘露化成一朵蓮花。觀音的輪廓和五官以細筆鉤畫，勻整細緻，衣紋線條粗細變化很大，強勁有力。根據畫上「師古」兩字的款題，過去認為這件畫軸是宋代賈師古（活動於1131－1162）的作品，可是畫中畫石的方法和明初的山水畫近似，應該是一幅明代畫家假借賈師古之名的作品。雖然如此，但他的繪畫技巧純熟，仍不失為一幅佛教畫的佳作。@#@@#@內容簡介（英文）@#@Chia Shih-ku was a native of K'ai-feng, in Honan province. He served at the court painting academy during the Shao-hsing reign (1131-1162). A skilled painter of religious subject, Chia Shih-Ku followed the style of Li Kung-lin. His pai-miao (ink outline) figures have an untrammeled air. The bodhisattva, adorned with jewels, is seated on a rocky cliff. The water of Buddha-truth pours out from her vase and transforms into a lotus flower. Her manner is vary relaxed. Cliff rocks are modeled with axe-cut texture strokes ,and the brushstrokes are vigorous and unrestrained. The bodhisattva's hair and details of her face are all meticulously outlined ; the folds of her robes are distinctly executed with an angular brushline. The brush work within the painting is lively, full of variation , and nicely balanced.@#@@#@內容簡介（英文）@#@Kuan-yin sits leaning on a rock as the water of Buddha-truth pours from the vase she is holding and transforms into a lotus blossom. The details of Kuan-yin are rendered with exceptionally fine brushwork. In contrast, the drapery lines vary considerably in thickness and are done with great force. Judging from the “Shih-ku” signature to the lower right of the figure, this work was considered at one point to have been painted by the Sung artist Chia Shih-ku. However, the treatment of the rocks is similar to landscape painting of the early Ming (l368-1644), indicating that the signature is a later addition. Nevertheless, the mature and skillful painting techniques still make this a masterpiece of Ming dynasty Buddhist art.
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