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【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄（卷八），第四冊，頁175
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收藏著錄 |
故宮書畫圖錄，第十九冊，頁371-376
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內容簡介（中文） |
丁雲鵬（生於西元一五四七或一五四八年，至年八十二歲尚在人世），字南羽，號聖華居士，安徽休寧人。善畫佛道人物，為晚明大家。
危巖峭壁，古木叢林，諸羅漢或倚松坐石，或晏坐禪定，或閱經論法，龍虎神怪，種種變現。羅漢造型以貫休羅漢為本，胡貌梵相，曲盡其態。全卷用墨濃淡兼施，用筆粗細並用，款署明萬曆丙申（一五九六），雲鵬畫風至此又一變矣。
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內容簡介（英文） |
Ting Yun-p’eng, a native of Anhwei province, excelled at painting Buddhist figures and is considered a master of late Ming painting.
In this work, a group of lohans is situated among precipitous cliffs in a forest of ancient trees. The semi-mystical forms of the lohans include those sitting on rocks, leaning against pine trees, quietly sitting in meditation, reading scriptures, and discussing the teachings of the Buddha. The designs were modeled after Kuan-hsiu’s (832-912) paintings of lohans, and they fully reflect their foreign origins. This handscroll is composed of heavy and light ink combined with rough and fine brushwork. The inscription is dated to 1596, a time which represented a turning point in Ting’s painting style.
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參考書目 |
1.李玉珉，〈明丁雲鵬應真雲彙〉，收入李玉珉主編，《羅漢畫》（臺北：國立故宮博物院，1990年初版），頁89。
2.〈明丁雲鵬應真雲彙〉，收入國立故宮博物院編，《晚明變形主義畫家作品展》（臺北：國立故宮博物院，1977年九月初版），頁90。
3.李玉珉；〈心印毫生—丁雲鵬繪畫展〉，《故宮文物月刊》，第352期（2012年7月份），頁90-105。
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網頁展示說明 |
危巖峭壁，古木叢林，諸羅漢或晏坐禪定，或繙經說法，或降龍伏虎，形貌各異。卷中多尊羅漢的造型以貫休羅漢為本，胡貌梵相，但丁氏加繪了樹石等背景，並表現了人物的互動關係，形成文人喜好的倚石憑樹、與山水混融的羅漢畫卷。此卷用墨漸濃，用筆粗放，畫葉筆法多變，但裝飾意味趨強。卷末款署萬曆丙申（1596），是年丁氏五十歲。
此作是丁氏粗筆濃墨羅漢畫風最早的一件紀年作品，在他繪畫風格的發展上深具意義。
(20120715)
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網頁展示說明 |
Among precipitous cliffs in a forest of ancient trees is a gathering of lohans in various activities and poses, such as quietly sitting in meditation, reading from scriptures, and taming a dragon and tiger. The forms of many lohans are based on those of Guanxiu, emphasizing their foreign Indian background. Here, though, Ding Yunpeng has added a background of rocks and trees. By also having the figures interact with each other, Ding has created a lohan handscroll painting combined with such favored literati themes as a landscape and figures resting on rocks and trees. This work was done in relatively darker ink with coarse brushwork, the leaves varied but having a strong decorative effect. The signature at the end is dated to the equivalent of 1596, when Ding Yunpeng was 50 years old by Chinese reckoning. This being the earliest dated example of Ding's lohan painting in coarse brushwork, it is especially significant in understanding the development of his later style.(20120715)
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網頁展示說明 |
老木の生える崖の上で羅漢が靜かに瞑想している。說法をしている羅漢もいれば、怪物を退治している者もいて、それぞれ違った姿を見せている。作品中に見られる幾人もの羅漢は、唐末五代の僧侶貫休をもとに描かれているが、見た目は異人のようである。樹木や岩石などの背景を加えることによって、それぞれに關連性が生まれ、文人が好んだ畫題─岩や樹木に寄りかかる人物、山水が渾然一体となった羅漢畫になっている。卷を広げていくと墨色は徐々に濃くなり、用筆も粗放になっていく。木の葉の描き方は変化が多く、かなり裝飾的である。卷末の署款は万曆丙申（1596）、丁雲鵬50歳の時の作品である。この作品は、大膽な筆致と濃墨による丁雲鵬の羅漢畫では最も早い時期の記念すべき作品であり、丁雲鵬の畫風発展において大きな意味を持つ作品である。(20120715)
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