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宋人畫魚籃觀音 軸
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- 典藏尺寸本幅@#@108.5x61
- 質地本幅@#@絹
- 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@#@秘殿新編@#@@#@鑑藏寶璽@#@珠林重定@#@@#@鑑藏寶璽@#@乾清宮鑑藏寶@#@@#@鑑藏寶璽@#@太上皇帝之寶@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@鑑藏寶璽@#@秘殿珠林@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫
- 主題主要主題@#@佛道人物@#@觀音@#@@#@其他主題@#@水中動植物@#@魚@#@@#@其他主題@#@器用@#@籃．簍．籮筐@#@提籃@#@@#@其他主題@#@器用@#@傢俱（屏風）@#@坐墊
- 參考資料收藏著錄@#@秘殿珠林續編（乾清宮），頁96@#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁126@#@@#@收藏著錄@#@故宮書畫圖錄，第三冊，頁17@#@@#@參考書目@#@黃逸芬，〈宋人畫魚籃觀音 軸〉，收入鍾子寅主編《法華經及其美術》（臺北：國立故宮博物院，2022.03），頁216-217。@#@@#@內容簡介（中文）@#@據〈觀音感應傳〉所載：唐元和十二年，陜西金沙灘上，有一美女子攜籃鬻魚，人爭欲室之，女願嫁善誦《法華經》者，惟馬氏子能誦之，故令具禮成婚。入門，女即死，有高僧告馬氏子云：此觀音示現以化人耳。故又稱馬郎婦觀音，為三十三觀音之一，為魚籃觀音由來。 本幅觀音盤坐畫幅正中，以民婦姿態出現。前置竹籃中，有魚一尾，因年代久遠而模糊不清，僅依稀可見魚鱗而已。(20091016)@#@@#@內容簡介（中文）@#@據觀音感應傳所載：唐元和十二年，陜西金沙灘上，有一美女子攜籃鬻魚，人爭欲室之，惟馬氏子能誦法華經，故令具禮成婚。入門，女即死，有高僧告馬氏子云：此觀音示現以化汝耳。故又稱馬郎婦觀音，為三十三觀音之一，是乃魚籃觀音之由來。本幅觀音盤坐畫幅正中，亦以民婦姿態出現。前置竹籃中，有魚一尾，卻與觀音的衣紋線條和臉部輪廓線一般，俱因年代久遠而模糊不清，僅依稀可見魚鱗而已。@#@@#@內容簡介（英文）@#@According to the Kuan-yin kan-ying chuan, in A.D.817 there was a beautiful young woman who sold fish from a basket living in Chin-sha-t'an, Shansi. Of the many who competed for her hand, the victor was a young man named Ma who could recite the Lotus sutra. The new bride, however, died right after getting married. A monk told the young man that the woman was a manifestation of Kuan-yin who had come to aid in their salvation. For this reason, Kuan-yin with the Fish Basket is one of the thirty-three manifestations of Kuan-yin. In this painting, Kuan-yin, shown seated, has the appearance of a village lass. Her bamboo basket is placed in front; in which lies a single fish. The painting has lost some if its detail and clarity with age, but in places the scales of the fish can still be seen.@#@@#@內容簡介（英文）@#@ According to Biographies of Guanyin’s Manifestations, in 817 CE during the Tang dynasty a beautiful young woman sold fish from a basket in Jinshatan, Shensi. Of the many who competed for her hand, she would only marry a man who could recite the Lotus Sutra, and he was surnamed Ma. The new bride, however, died right after marriage. A high monk then told him that she was a manifestation of Guanyin, the bodhisattva of compassion. Thus, she was considered one of Guanyin’s 33 manifestations, shown with a fish basket. In this work Guanyin is seated and looks like a village maiden. Her bamboo basket with a single fish appears before her. The painting has lost some if its detail and clarity with age, but in places the fish scales can still be seen.(20091016)
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