民國李叔同隸書心經　卷

The Heart Sutra

法書

般若波羅蜜多心經。唐三藏法師玄奘奉詔譯。觀自在菩薩。行深般若波羅蜜多時。照見五蘊皆空。度一切苦厄。舍利子。色不異空。空不異色。色即是空。空即是色。受想行識。亦復如是。舍利子。是諸法空相。不生不滅。不垢不淨。不增不減。是故空中無色。無受想行識。無眼耳鼻舌身意。無色聲香味觸法。無眼界。乃至無意識界。無無明。亦無無明盡。乃至無老死。亦無老死盡。無苦集滅道。無智亦無得。以無所得故。菩提薩埵。依般若波羅蜜多。故心無罣礙。無罣礙故無有恐怖。遠離顛倒夢想。究竟涅槃。三世諸佛。依般若波羅蜜多。故得阿耨多羅三藐三菩提。故知般若波羅蜜多。是大神呪。是大明呪。是無上咒。是無等等咒。能除一切苦。真實不虛。故說般若波羅蜜多呪。即說呪曰。揭諦揭諦。波羅揭諦。波羅僧揭諦。菩提薩婆訶。般若波羅蜜多心經。鈐印一。演音。款識。般若波羅蜜多心經。庚申（西元一九二０年）四月廿一日亡母五十九周誕辰。敬寫此經。以資冥福。弘一釋演音。

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基本資料典藏尺寸質地題跋資料參考資料保存維護

文物統一編號	購書001177N000000000
作品號	購書00117700000
品名	民國李叔同隸書心經　卷 The Heart Sutra
分類	法書
作者	李叔同,Li Shutong
書體	楷書
數量	一卷
作品語文	漢文
釋文	般若波羅蜜多心經。唐三藏法師玄奘奉詔譯。觀自在菩薩。行深般若波羅蜜多時。照見五蘊皆空。度一切苦厄。舍利子。色不異空。空不異色。色即是空。空即是色。受想行識。亦復如是。舍利子。是諸法空相。不生不滅。不垢不淨。不增不減。是故空中無色。無受想行識。無眼耳鼻舌身意。無色聲香味觸法。無眼界。乃至無意識界。無無明。亦無無明盡。乃至無老死。亦無老死盡。無苦集滅道。無智亦無得。以無所得故。菩提薩埵。依般若波羅蜜多。故心無罣礙。無罣礙故無有恐怖。遠離顛倒夢想。究竟涅槃。三世諸佛。依般若波羅蜜多。故得阿耨多羅三藐三菩提。故知般若波羅蜜多。是大神呪。是大明呪。是無上咒。是無等等咒。能除一切苦。真實不虛。故說般若波羅蜜多呪。即說呪曰。揭諦揭諦。波羅揭諦。波羅僧揭諦。菩提薩婆訶。般若波羅蜜多心經。鈐印一。演音。款識。般若波羅蜜多心經。庚申（西元一九二０年）四月廿一日亡母五十九周誕辰。敬寫此經。以資冥福。弘一釋演音。

位置	尺寸(公分)
隔水二	12.7
本幅	31.6x105.6
引首	31.8x97.8
隔水一	38x12.6
拖尾	42x44

質地位置	質地
本幅	紙本

題跋類別

作者

位置

款識

書體

全文

題跋

吳昌碩印記 expand_more

引首

吳昌碩篆於海上禪甓軒。時年七十有七。

篆書

觀我不虛。（篆書）。庚申孟冬月。吳昌碩篆於海上禪甓軒。時年七十有七。

印主	印記
吳昌碩	俊卿之印
吳昌碩	倉碩
吳昌碩	歸仁里民

題跋

方還印記 expand_more

拖尾

戊辰十月二十四日方還

行書

般若波羅密多心經。唐三藏法師玄奘奉詔譯。觀自在菩薩。行深般若波羅蜜多時。照見五蘊皆空。度一切苦厄。舍利子。色不異空。空不異色。色即是空。空即是色。受想行識。亦復如是。舍利子。是諸法空相。不生不滅。不垢不淨。不增不減。是故空中無色。無受想行識。無眼耳鼻舌身意。無色聲香味觸法。無眼界。乃至無意識界。無無明。亦無無明盡。乃至無老死。亦無老死盡。無苦集滅道。無智亦無得。以無所得故。菩提薩埵。依般若波羅蜜多故。心無罣礙。無罣礙故。無有恐怖。遠離顛倒夢想。究竟般（點去）涅般。三世諸佛。依般若波羅蜜多故。得阿耨多羅三藐三菩提。故知般若波羅蜜多。是大神呪。是大明呪。是無上呪。是無等等呪。能除一切苦。真實不虛。故說般若波羅蜜多呪。即說呪曰。揭諦揭諦。波羅揭諦。波羅僧揭諦。菩提薩婆訶。般若波羅蜜多心經。演音究出世法。為亡母五十九周書心經。方還。亡母四十年。觀其書亦寫一通。眾生與佛皆父母所生也。余為眾生敢忘所生。此經兒時曾為母朝朝虔誦。未盡忘也。今五十年矣。為之泫然。戊辰十月二十四日方還。

印主	印記
方還	方還

簽

程文龍印記 expand_more

包首

金山程文龍署簽

弘一禪師手書心經。戊辰仲冬之月。金山程文龍署簽。

印主	印記
程文龍	龍

類別	參考資料
內容簡介	李叔同（西元一八八○〜一九四二年），初名文濤，初字叔同，浙江平湖人。早年失怙，戊戌政變後奉母居上海法租界，後進東京上野美術專門學校攻西洋油畫。民國五年皈依佛教，精研佛學，成一代高僧。李叔同十三歲時開始臨篆帖及各種碑版，書法力求平淡恬靜。本幅寫般若波羅蜜多心經，款題於庚申（一九二○）四月，為亡母五十九周誕辰敬寫。引首為吳昌碩七十七歲篆書「觀我不虛」。購於民國九十九年。 (20120106)
Description	Li Shutong (early name Wentao, early style name Shutong) was a native of Pinghu, Zhejiang. Having lost his father at an early age, after the Hundred Days’ Reform he waited upon his mother and lived in the French Concession in Shanghai. He later entered the Ueno School of Fine Arts in Japan and studied Western oil painting. In 1916 he became a Buddhist and delved into Buddhist studies, eventually becoming a high monk. At the age of 13, Li Shutong began copying seal-script modelbooks and various steles, striving in his brushwork for a plain and serene effect. This work is a transcription of the Buddhist scripture The Heart Sutra. It is dated to the fourth month of 1920, being respectfully written on the 59th birthday of his late mother. The frontispiece features an inscription of four characters for “Observe the self, not empty” done by Wu Changshi in seal script at the age of 77. This work was purchased by the National Palace Museum in 2010. (20120106)

類別

參考資料

內容簡介

李叔同（西元一八八○〜一九四二年），初名文濤，初字叔同，浙江平湖人。早年失怙，戊戌政變後奉母居上海法租界，後進東京上野美術專門學校攻西洋油畫。民國五年皈依佛教，精研佛學，成一代高僧。李叔同十三歲時開始臨篆帖及各種碑版，書法力求平淡恬靜。本幅寫般若波羅蜜多心經，款題於庚申（一九二○）四月，為亡母五十九周誕辰敬寫。引首為吳昌碩七十七歲篆書「觀我不虛」。購於民國九十九年。 (20120106)

Description

Li Shutong (early name Wentao, early style name Shutong) was a native of Pinghu, Zhejiang. Having lost his father at an early age, after the Hundred Days’ Reform he waited upon his mother and lived in the French Concession in Shanghai. He later entered the Ueno School of Fine Arts in Japan and studied Western oil painting. In 1916 he became a Buddhist and delved into Buddhist studies, eventually becoming a high monk. At the age of 13, Li Shutong began copying seal-script modelbooks and various steles, striving in his brushwork for a plain and serene effect. This work is a transcription of the Buddhist scripture The Heart Sutra. It is dated to the fourth month of 1920, being respectfully written on the 59th birthday of his late mother. The frontispiece features an inscription of four characters for “Observe the self, not empty” done by Wu Changshi in seal script at the age of 77. This work was purchased by the National Palace Museum in 2010. (20120106)

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