| 文物統一編號 |
贈畫000405N000000000
more
贈畫000405N000000A01
贈畫000405N000000A02
贈畫000405N000000B01
贈畫000405N000000B02
|
| 作品號 |
贈畫00040500000 |
| 品名 |
清人菩提葉羅漢 冊
Bodhi-leaf Lohans |
| 分類 |
繪畫 |
| 作者 |
清人,Anonymous-Qing dynas |
| 數量 |
一冊：三十四開（本幅三十開六十幅，前副葉二開二幅，後副葉二開二幅，合計三十四開六十四幅） |
| 作品語文 |
漢文 |
| 位置 |
尺寸(公分) |
| 書幅 |
27.3x18.5 |
| 畫幅 |
27.3x18.5 |
| 前副葉 |
32.5x43.4 |
| 後副葉 |
32.5x43.4 |
| 全幅 |
32.8x43.7 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 題跋 |
章太炎
印記 expand_more
|
前副葉一 |
民國十九年（西元一九三０年）九月章炳麟記。 |
行書 |
東坡書玉樞經為江邨高氏所得，不知緣何與羅漢像合裝，相傳為金山僧貢於清室者，混佛道于一堂，計金山僧不應迷謬乃尒。其或江邨為書，而為金山僧所得耶。菩提葉漢土所無，此畫亦異域所傳爾。兩美不當合，今但知其美而已。民國十九年（西元一九三０年）九月章炳麟記。 |
|
|
| 題跋 |
劉道南
印記 expand_more
|
前副葉二 |
光緒己丑（西元一八八九年）孟冬。侯官劉道南識。 |
行書 |
菩提樹產自印度。國中祇粵東有焉。葉小而窄。不足以繪事。故我國視天竺產。若拱璧焉。茲冊菩提葉凡三十。所貴者葉大鋒長。久而不朽。蓋葉以大及掌者為寶。而以能全其鋒者為尤珍。攷據家云如斯葉者。百不獲一。三十葉間繪五百羅漢。說法談經。證果伏魔等象。繪工精緻端莊。設色糝以寶石。傳是印度高僧所貢。清宮如意館所繪。高江邨先生摹蘇端明玉樞經全卷。每葉襯以一版。字秀而腴。年代湮久。金質稍褪。是寫經時信奉齋戒。屏膠黃不用。致不能如繪葉之不涅不磨也。然金色雖澹。字迹甚明。或謂是捨身者刺血調金為之。證諸血書經卷。絕相類。經云法會難與。大道難聞。余聞道媿於管窺。瞻仰全圖。倘見當時法會。普照三千大千世界之盛典。其為德不既多乎。光緒己丑（西元一八八九年）孟冬。侯官劉道南識。 |
|
|
| 題跋 |
郭則澐
印記 expand_more
|
後副葉一 |
庚辰長至蟄雲郭則澐 |
行書 |
金水神光照石渠。菩提葉葉現真如。輸琛聞自殊方貢。卻勝鎪花貝葉書。龍天幻相擅丹青。絕技端應重禁廷。不入江邨消夏錄。遺珠為惜玉樞經。珍蹟西清不翼飛。翩然鹿野見天衣。休論聖畫雲花寺。似此楞伽訣亦稀。栖心白業久成風。頂禮真當向畫中。雪北香南商供羊。拈花法相定非空。幼雪尊兄婣年大人属題。庚辰（西元一九四０年）長至蟄雲郭則澐。 |
|
|
| 題跋 |
江朝宗
印記 expand_more
|
後副葉二 |
|
行書 |
高士琦官至禮部尚書。善書法。曾供奉內廷清宮如意館。精繪菩提葉三十張。凡五百羅漢。江村既得之。復手臨蘇端明玉樞經亦三十版以襯之。冶佛道於一鑪。啓後世儒釋道三教之倡。殊堪珍貴。劉子寶之。附詩一章。菩提葉繪多羅漢。落筆驚人萬古傳。劉子珍藏榮後澤。我題數語紀前賢。天運己丑（西元一八八九年）年秋九月。江朝宗誌於延慶軒。 |
| 印主 |
印記 |
| 江朝宗 |
上將軍印 |
| 江朝宗 |
忠臣孝子之裔 |
|
| 簽 |
|
封板 |
|
隸書 |
菩提葉羅漢全冊。 |
| 類別 |
參考資料 |
| 內容簡介 |
釋迦牟尼在菩提樹下悟道成佛，因此寺院常栽種此樹，或以其葉片寫經、作畫。本冊各幅即繪於菩提葉上，再裝裱成冊。
畫中以佛教羅漢群像為主題。羅漢由修行者衍生出渡化眾生的菩薩特質，在印度並未形成信仰，卻盛行於中國。冊中以三十開共圖繪五百羅漢，多為施展神通或顯現異象的描繪。造型溫雅，用筆細緻而設色鮮艷，對幅則以金抄經文。本冊為劉永楙、永仁、永益、永理先生昆仲捐贈。
|
| 內容簡介 |
釋迦牟尼在菩提樹下悟道成佛，因此寺院常栽種此樹，或以其葉片寫經、作畫。本冊各幅即繪於菩提葉上，再裝裱成冊。
畫中以佛教羅漢群像為主題，造型溫雅，或施展神通，或顯現異象。羅漢由修行者衍生出渡化眾生的菩薩特質，在印度並未形成信仰，卻盛行於中國。通幅用筆細緻，設色鮮艷，又以青色為底，加上對幅青底上書泥金經文，更添明麗。
劉永楙、永仁、永益、永理先生昆仲捐贈於民國73年。
(20120106)
|
| Description |
Shakyamuni achieved enlightenment under a bodhi tree, which is why Buddhist temples and monasteries often plant this kind of tree and used its leaves to transcribe scriptures and do paintings. Each leaf here is done on a bodhi leaf and mounted in the form of an album.
The paintings depict groups of Buddhist lohans, or “worthy ones.” They appear gentle with some giving play to their powers or revealing their supernatural phenomena. Lohans went from practitioners to figures with bodhi spirit assisting all living beings. A belief system did not form around them in India but became popular in China. This work is done in fine brushwork with opulent colors with a cyan blue background. With the scriptural text on a blue background for the opposing leaf, it adds further brilliance to the work.
Messrs. Liu Yung-mao, Liu Yung-jen, Liu Yung-i, and Liu Yung-li donated this work to the National Palace Museum in 1984.
(20120106)
|
| Description |
The Buddha is said to have achieved enlightenment under a bodhi tree, which is why Buddhist temples often plant this tree or use its leaves for writing texts or painting-as seen here.
Each leaf here takes a group of lohans as the subject. Lohans were originally disciples of the Buddha who became bodhisattva-like figures. In China, a belief system developed around them, but not in India. This selection is from an album of 30 leaves, which portray a total of 500 lohans. Many are shown with strange powers or in the process of transformation. The brushwork is fine and the colors bright. Each opposing leaf has text written in gold ink. This album was donated by Messrs. Liu Yung-mgo, Liu Yung-jen, Liu Yung-i, and Liu Ying-li.
|
本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理
抽盤點紀錄
修護紀錄
