| 文物統一編號 |
故畫000092N000000000
|
| 作品號 |
故畫00009200000 |
| 品名 |
宋賈師古大士像 軸
Kuan-yin Bodhisattva |
| 分類 |
繪畫 |
| 作者 |
賈師古 |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 作者款識 |
賈師古 |
本幅 |
師古 |
楷書 |
|
| 印記類別 |
印主 |
印記 |
| 鑑藏寶璽 |
清高宗 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清高宗 |
太上皇帝 |
| 鑑藏寶璽 |
清高宗 |
宜子孫 |
| 鑑藏寶璽 |
宣統帝 |
宣統御覽之寶 |
| 鑑藏寶璽 |
宣統帝 |
宣統鑑賞 |
| 鑑藏寶璽 |
清高宗 |
珠林重定 |
| 鑑藏寶璽 |
清高宗 |
祕殿珠林 |
| 鑑藏寶璽 |
清高宗 |
祕殿新編 |
| 鑑藏寶璽 |
清高宗 |
乾清宮鑑藏寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆御覽之寶 |
| 鑑藏寶璽 |
清高宗 |
乾隆鑑賞 |
| 鑑藏寶璽 |
宣統帝 |
無逸齋精鑑璽 |
| 鑑藏寶璽 |
清仁宗 |
嘉慶御覽之寶 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
山水 |
奇石 |
|
| 主要主題 |
佛道人物 |
觀音 |
|
| 其他主題 |
器用 |
宗教器用 |
|
| 類別 |
參考資料 |
| 內容簡介 |
觀音菩薩悠閒自在地靠在岩石上，手中淨瓶灑下的甘露化成一朵蓮花。觀音的輪廓和五官以細筆鉤畫，勻整細緻，衣紋線條粗細變化很大，強勁有力。根據畫上「師古」兩字的款題，過去認為這件畫軸是宋代賈師古（活動於1131－1162）的作品，可是畫中畫石的方法和明初的山水畫近似，應該是一幅明代畫家假借賈師古之名的作品。雖然如此，但他的繪畫技巧純熟，仍不失為一幅佛教畫的佳作。
|
| Description |
Chia Shih-ku was a native of K'ai-feng, in Honan province. He served at the court painting academy during the Shao-hsing reign (1131-1162). A skilled painter of religious subject, Chia Shih-Ku followed the style of Li Kung-lin. His pai-miao (ink outline) figures have an untrammeled air. The bodhisattva, adorned with jewels, is seated on a rocky cliff. The water of Buddha-truth pours out from her vase and transforms into a lotus flower. Her manner is vary relaxed. Cliff rocks are modeled with axe-cut texture strokes ,and the brushstrokes are vigorous and unrestrained. The bodhisattva's hair and details of her face are all meticulously outlined ; the folds of her robes are distinctly executed with an angular brushline. The brush work within the painting is lively, full of variation , and nicely balanced.
|
| Description |
Kuan-yin sits leaning on a rock as the water of Buddha-truth pours from the vase she is holding and transforms into a lotus blossom. The details of Kuan-yin are rendered with exceptionally fine brushwork. In contrast, the drapery lines vary considerably in thickness and are done with great force. Judging from the “Shih-ku” signature to the lower right of the figure, this work was considered at one point to have been painted by the Sung artist Chia Shih-ku. However, the treatment of the rocks is similar to landscape painting of the early Ming (l368-1644), indicating that the signature is a later addition. Nevertheless, the mature and skillful painting techniques still make this a masterpiece of Ming dynasty Buddhist art.
|
| 收藏著錄 |
秘殿珠林續編（乾清宮），第一冊，頁78
|
| 收藏著錄 |
故宮書畫錄（卷五），第三冊，頁81-82
|
| 收藏著錄 |
故宮書畫圖錄，第二冊，頁91-92
|
| 參考書目 |
1.李玉珉，〈(傳)宋賈師古大士像〉，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191。
2.〈宋賈師古大士像〉，收入劉芳如主編，《書畫裝池之美》（臺北：國立故宮博物院，2008年初版一刷），頁58。
3.本社，〈賈師古大士像〉，《故宮文物月刊》，第27期（1985年6月），頁1。
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