| 文物統一編號 |
故畫000161N000000000
|
| 作品號 |
故畫00016100000 |
| 品名 |
宋人維摩圖 軸
Vimalakirti |
| 分類 |
繪畫 |
| 數量 |
一軸 |
| 題跋類別 |
作者 |
位置 |
款識 |
書體 |
全文 |
| 題跋 |
清高宗
印記 expand_more
|
本幅 |
乾隆壬午新秋御贊 |
行書 |
毗耶長者。維摩詰是。得無生忍。神通遊戲。不著三界。示有妻子。因以身疾。説法隨喜。調御遣問。率不任使。文殊爰行。承佛之旨。不二法門。辨論彼此。黙然無言。如乳合水。全圖不存。師利奚止。天女散花。聊復爾爾。乾隆壬午新秋御贊。 |
|
|
| 印記類別 |
印主 |
印記 |
| 鑑藏寶璽 |
清內府印 |
三希堂精鑑璽 |
| 鑑藏寶璽 |
清高宗 |
太上皇帝之寶 |
| 鑑藏寶璽 |
清內府印 |
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 |
清內府印 |
秘殿珠林 |
| 鑑藏寶璽 |
清高宗 |
秘殿新編 |
| 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 |
人物 |
仕女 |
|
| 主要主題 |
佛道人物 |
道（道士、道姑） |
維摩詰 |
| 主要主題 |
器用 |
傢俱（屏風） |
|
| 其他主題 |
花草 |
|
|
| 類別 |
參考資料 |
| 內容簡介 |
維摩詰為毗耶離城長者，釋迦同時人。嘗因病說法，佛遣文殊師利往與論道，世傳維摩示疾圖。本幅筆力勁挺，設色古厚。維摩坐榻上，背立天女而無文殊，故清高宗疑非全本。語見壬午題贊中。
|
| 內容簡介 |
傳說中，維摩詰是印度毗耶離城的一個長者，與釋迦是同時代的人。嘗因病說法，佛派遣文殊師利前往與之辯論佛理。
此圖獨畫大乘居士維摩詰坐於榻上，右手持麈尾，斜靠於獅形的憑几上，左手閒置於膝。臉部有鬍鬚，坦露的胸部似乎顯示出其身體的嬴弱，其身後站有一位手執花盆的天女。
本幅筆力勁挺，設色古厚。從風格觀之，當是明代作品。
|
| Description |
The subject of "Vimalakirti Discussing the Way"describes how the Indian scholar Vimalakirti preached the Buddha's teachings while ill in bed. Mañjušri, the Bodhisattva of Wisdom, thereupon appeared and entered into a discussion with him. Here, however, only Vimalakirti is shown. He holds a fly whisk in his right hand and sits leaning against a small armrest (with his left hand leisurely on his knee). He has a long beard and his upper garments are loosened to expose the old man's chest. Behind is a maiden with a basket of flowers.
The brushwork is powerful and the use of colors is archaic and rich. Judging from the figural style, however, this work appears to date from the Ming dynasty (1368-1644).
|
| Description |
The subject "Vimalakirti Debating the Scriptures" describes how the scholar Vimalakirti engaged in debate over Buddhist doctrine with Manjusri, the Bodhisattva of Wisdom. However, in this painting, only Vimalakirti is shown, holding a fly-whisk in his right hand. He sits at an angle against a small, lion-shaped learning table, and his left hand is leisurely placed on his knee. He has a long beard and his upper garments are loosened to expose the chest, of an old man. And standing behind is a heavenly maiden holding a basket of flowers. Judging from the figural style, it appears to be Ming (1368-1644) in date.
The lohan platform on which Vimalakirti sits has screen-like sides, a soft wicker mat for comfort, and a border decorated with a circular pattern. Of the three sides with low screens, the rear one is the highest and resembles the shape of the Chinese character for mountain ( shan 山 ), hence the alternate name "mountain screen." The two horizontal slats of the screen sides have vertical braces, giving a decorative effect. The sides are made of wooden panels placed within rounded frames, which are believed to a raised line and cut to fit. The panels inside the frame and the cusped openings below the platform surface are distinguished by their beautiful natural wood grain pattern-demonstrating the exacting craftsmanship of the furniture makers.
|
| 收藏著錄 |
秘殿珠林續編（乾清宮），頁93
|
| 收藏著錄 |
故宮書畫錄第三冊（卷五），頁127-128
|
| 收藏著錄 |
故宮書畫圖錄，第三冊，頁25-26
|
| 參考書目 |
〈宋人維摩圖 軸〉，收入國立故宮博物院編輯委員會、林莉娜主編《畫中家具特展》（臺北：國立故宮博物院，1996.10），頁44-45、117-118。
|
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
