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明文從簡禮佛圖 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者文從簡
- 色彩設色
- 裝裱形式軸
- 創作時間明思宗崇禎十六年（1643）
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@63.2x46.6
- 質地本幅@#@紙
- 題跋資料作者款識@#@文從簡@#@本幅@#@癸未（西元一六四三年）中秋日。善男子文從簡林焚香頂禮寫。@#@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@#@秘殿珠林@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫@#@@#@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@#@@#@收傳印記@#@宣統御覽之寶
- 主題主要主題@#@佛道人物@#@羅漢（應真、尊者）@#@一人@#@@#@主要主題@#@佛道人物@#@僧（和尚、尼姑）@#@和尚一人@#@@#@主要主題@#@佛道人物@#@佛道侍者@#@二人@#@@#@主要主題@#@佛道人物@#@供養人@#@@#@次要主題@#@器用@#@香爐．火盆@#@香爐@#@@#@次要主題@#@器用@#@飲食器@#@@#@次要主題@#@器用@#@宗教器用@#@經卷、拂塵、香盒、鉢@#@@#@次要主題@#@果蔬@#@石榴@#@@#@其他主題@#@器用@#@傢俱（屏風）@#@椅
- 技法工筆@#@@#@人物衣紋描法(勻稱線條)
- 參考資料收藏著錄@#@秘殿珠林續編（乾清宮），頁317@#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁447@#@@#@收藏著錄@#@故宮書畫圖錄，第八冊，頁369-370@#@@#@內容簡介（中文）@#@文從簡，生於神宗萬曆二年（西元一五七四），卒於清世祖順治五年（西元一六四八）。江蘇長洲人，為文徵明曾孫，字彥可，號枕烟老人。崇禎間考取貢生，明亡，入清不仕，書畫皆傳家學，而稍加變化。書法兼有唐李邕，畫山水兼有元倪瓚，王蒙筆法。 本幅畫一佛端坐木榻上，二從者捧物侍立兩側，一信女手持香炉，正跪地拈香頂禮。人物用筆勾勒與著色，都明淨秀雅可喜，惟畫佛造型皆與凡人無異，此乃因明以後，佛像畫已脫離宗教而入於純粹藝術欣賞範圍，畫家多屬兼習，偶或圖寫，率無稿本藉供臨摹。 @#@@#@內容簡介（英文）@#@Worshipping the Buddha Wen Ts’ung-chien (1574-1648) Ming dynasty Wen Ts’ung-chien was a great grandson of Wen Cheng-ming. His style name was Yen-k’o and his sobriquet was Chen-yen lao-jen. Sometime between 1628-1643, he received his kung-sheng degree. After the fall of the Ming he retired from official life. He studied the great ancient masters of calligraphy and painting, adapting each to his own taste. He modelled his calligraphy after the T’ang master Li Yung and derived his landscape style from Ni Tsan and Wang Meng. This painting shows a Buddha on a couch receiving offerings from two devotees. A nun holds an incense-burner and, prostrate, offers it to the Buddha. The drawing of the figures and the colors all create a clear and pleasing impression. The figures in this Buddhist painting seem little different from those in secular paintings. This demonstrates the tendancy of Buddhist painting from the Ming dynasty onwards to lost its religious associations and to become pure art. Iconographic painters were no longer specialist painters of Buddhist subjects, but painted according to their inclinations and did not follow the canonical compositions for Buddhist painting that had persisted earlier.
- 地圖
引用資訊
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