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明鄭重十八應真像 冊
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者鄭重
- 裝裱形式冊(摺裝‧方幅式)
- 數量一冊：十二開（本幅十二開十二幅）
- 集叢號-類型總集
- 典藏尺寸本幅@#@28.5x22.8
- 質地本幅@#@紙
- 題跋資料作者款識@#@鄭重@#@第十二幅@#@篆書@#@弟子鄭重敬寫。
- 參考資料收藏著錄@#@故宮書畫錄（卷六），第四冊，頁86@#@@#@收藏著錄@#@故宮書畫圖錄，第二十三冊，頁210-213@#@@#@參考書目@#@1.李玉珉，〈明鄭重降龍尊者〉，收入李玉珉主編，《羅漢畫》（臺北：國立故宮博物院，1990年初版），頁81-82。 2.本社，〈明鄭重十八應真像〉，《故宮文物月刊》，第57期（1987年12月），頁4-16。 @#@@#@內容簡介（中文）@#@ 「應真」即阿羅漢，是佛陀弟子中，能斷煩惱，解脫輪迴，受到天上、人間尊敬供養的僧人。佛陀臨涅槃時，囑付十六大阿羅漢，常住世間，弘揚佛法，利益眾生。佛教傳到中國後，世人於十六羅漢外另加降龍、伏虎二羅漢，演變成為十八羅漢。 《西遊記》中的十八羅漢，曾出現在第五十二回，奉如來命開寶庫取出十八粒「金丹砂」幫助孫悟空力戰青牛（太上老君的座騎）幻化而成的妖魔。 @#@@#@內容簡介（中文）@#@鄭重，安徽歙縣人，流寓金陵，生卒年不詳，善寫佛像，必齋沐而後筆。丁雲鵬推為趙伯駒後身。 本幅計十二開，圖寫十二應真像。「應真」即阿羅漢，乃智慧與理相應之人，常執錫杖飛行於太虛之境。此次展出之兩開，首幅為長眉應，持塵騰於雲端，線描隱含乾筆，衣褶凹處復以淡墨加染。第二幅畫騎虎應，畫法同樣濃淡相間，乾濕並濟，與十八描中「以淡墨皺衣褶紋，加以濃墨，混成之」的混描名目相符，無妨以此名之。@#@@#@內容簡介（中文）@#@鄭重（活動於十七世紀上半葉），字千里，號無著，安徽歙縣人，流寓金陵（今南京）。善畫山水小景，尤擅寫佛像，必參沐而後舉筆。 本冊畫十八應真，又稱十八羅漢。畫中人物的面目各殊，有的慈眉善目，有的橫眉豎眼，刻畫極為傳神。其或拱手捧經執麈，或乘龍騎虎，姿態生動活潑。全作的衣紋用濕筆中鋒畫成，線條肯定流暢。雲霧以淡墨鉤形，濃重而濕潤的墨色漬染，將雲霧的動勢一表無遺。 @#@@#@內容簡介（英文）@#@Cheng Chung (style name Ch’ien-li; sobriquet Wu-chu) was a native of She-hsien, Anhwei and later moved to Chin-ling (modern Nanking). He excelled at painting intimate landscape scenes and was quite gifted at Buddhist figures, first undergoing ritual cleansing before taking the brush to depict them. This album depicts “The Eighteen Lohans” in Buddhism. The faces of each are remarkable, some benign and others menacing, with great realism. Some reverently hold a sūtra or a flywhisk and ride a dragon or a tiger to reveal much variety. Drapery lines were done with a centered brush in moist brushwork, the lines fluid yet firm. Clouds and mist are outlined in light ink, with dense and moist ink washes fully expressing force and movement. @#@@#@內容簡介（英文）@#@Cheng chung (dates unknown)was a native of She-hsien, Anhwei, who moved his residence to Chin-ling. A specialist in Buddhist painting, Cheng Chung would first undergo a ritual cleansing before picking up the brush. Ting Yun-p'eng praised him as a reincarnation of Chao brushwork is clear and energetic, and the colors are elegant and Po-Chu. Lohans ard Buddhist figures of superior wisdom and intelligence. Of the two leaves in this exhibition, one lohan is shown roaming through the clouds while the other rides a tiger. The clothing folds are a blending of light and dark tones of ink, and correspond to the "mixed" mode of description--light ink texture strokes reinforced with darker ink to give a full-bodied effect.@#@@#@內容簡介（英文）@#@Lohans, known as arhats in Sanskrit, refer to Buddha's disciples rising above worldly matters and escaping from the cycle of reincarnation. They were monks respected and revered in the heavens and the world. When the Buddha entered nirvana, he urged the 16 great lohans to remain and preach the faith for the benefit of all. After Buddhism spread to China, the two lohans of subduing the dragon and taming the tiger were added for a total of 18. The 18 lohans in Journey to the West appear in chapter 52, following the Tathagata Buddha's order to take out 18 grains of “golden elixir sand” to help the Monkey King fight the demon formed by the illusory powers of Blue Ox (the mount of the “Senior Lord of the Supreme”, Lao-tzu).
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