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明邢慈靜畫觀世音菩薩三十二應身相 冊
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者Xing Cijing,邢慈靜
- 裝裱形式冊(摺裝‧方幅式)
- 數量一冊：二十四開（本幅二十四開二十四幅）
- 集叢號-類型總集
- 典藏尺寸本幅@#@28.6x29.5
- 質地本幅@#@紙
- 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@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶
- 參考資料收藏著錄@#@秘殿珠林續編（乾清宮），頁178-180@#@@#@收藏著錄@#@故宮書畫錄（卷六），第四冊，頁64-66@#@@#@收藏著錄@#@故宮書畫圖錄，第二十三冊，頁34-41@#@@#@參考書目@#@1.李玉珉，〈明刑慈靜觀世音菩薩三十二應身〉，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195-198。 2.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40。 @#@@#@內容簡介（中文）@#@ 邢慈靜（西元十六世紀後期），山東臨清人，書畫家邢侗之妹，善畫竹石及白描大士，有髮繡大士極精。 關於觀音的應化，以〔普門品〕所說三十三身，與〔楞嚴經〕所說的三十二應現，最為普及。觀音應種種不同機緣，變化無限化身，說法度生。本冊描金畫觀音三十二應身像。人物畫中純以線條鉤勒形相者，稱之為「白描」，此畫中以金代墨，是為「描金」。今選其中八幅展出，分別是持經觀音、一葉觀音、眾寶觀音、無畏觀音、龍頭觀音、楊柳觀音、水月觀音及葉衣觀音。 @#@@#@內容簡介（中文）@#@邢慈靜，生卒年不詳，山東臨清人。是明代書畫名家邢侗（一五五一－一六一二）的妹妹，貴州左布政馬拯的妻子。善畫竹石和白描大士。這畫冊是根據《楞嚴經》的內容，繪製的觀世音菩薩三十二應身，原來應有三十二幅，現在僅存二十四幅，本次展覽只選幾件作為代表。全冊人物以女相觀音為主，祂們有的坐著，有的站著，有的面向我們，有的背向觀眾，姿勢變化多端。每幅還題寫觀音讚語一首。@#@@#@內容簡介（英文）@#@Thirty-two Manifestations of Kuan-yin Hsing Tz’u-ching Ming Dynasty (1368-1644) Hsing Tz’u-ching was the younger sister of the famous painter-calligrapher Hsing T’ung (1551-1612). She excelled at painting the themes of bamboo-and-stones and the White-robed Kuan-yin. This album of the late Ming dynasty is based on the contents of the Śūrangama Sūtra and shows 32 transformations of Kuan-yin that have been done in gold ink. Of the original 32 leaves, only 24 now survive, of which a few have been chosen here for display. All the Kuan-yin figures are shown in female form. The manifestations of the deity are also rendered in a variety of poses, including seated, standing, facing the viewer, with the back to the viewer. Each leaf also includes a calligraphed poem in praise of Kuan-yin. @#@@#@內容簡介（英文）@#@Thirty-two manifestations of kuan-yin Hsing Ts’u-ching (fl. Late 16th century) Ming Dynasty Hsing Ts’u-ching, the younger sister of Hsing T’ung, was a native of Lin-ch’ing, Shantung. She excelled at painting bamboo, rocks, and pai-miao (ink out-line) bodhisattvas. She is especially acclaimed for her hair-embroidered pictures of bodhisattvas. The thirty-three manifestations of Kuan-yin mentioned in the Saman-tamukha chapter of the Lotus sūtra and the thirty-two mentioned in the Śūrangama Sūtra are the most widely accepted descriptions of Kuan-yin’s transformations. The bodhisattva Kuan-yin, capable of unlimited transformations, alters her appearance in order to propogate the Buddha truth and rescues all beings in varied circumstances. This album is comprised of thirty-two images of the manifestations of Kuan-yin, all painted in gold, with the forms all drawn in the ink outline technique. Eight leaves have been specially selected for this exhibition. These include images of Kuan-yin holding a sūtra, Kuan-yin on a lotus-flower petal, Bejeweled Kuan-yin, Abhaya (dauntless) Kuan-yin, Dragon-head Kuan-yin, Kuan-yin with a willow branch, water-moon Kuan-yin, and Kuan-yin clad in leaves.
- 地圖
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