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【參考資料】 |
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收藏著錄 |
秘殿珠林續編（乾清宮），頁163
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁454-455
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收藏著錄 |
故宮書畫圖錄，第八冊，頁347-348
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參考書目 |
1.〈明丁雲鵬畫釋迦牟尼佛〉，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102。
2.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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內容簡介（中文） |
丁雲鵬（約西元十六世紀末期至十七世紀初期），安徽休寧人，字南羽，號聖華居士。善畫佛道人物。畫法學唐吳道子，又白描法學北宋李公麟，用筆勾勒，線細如髮絲，而眉睫間，尚能意態畢具。 本幅畫釋迦牟尼坐樹下，容貌端靜，宛若入定。通幅全用墨筆勾染，不著顏色。予人有真幻兩忘，神入華嚴淨土之感。
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內容簡介（英文） |
Ting Yun-p'eng was a native of Hsiu-ning, Anhwei province. His tzu (style name) was Nan-yu and his hao (sobriquet) was Sheng-hua Chu-shih. He excelled at painting Buddhist and Taoist figures, deriving his style from the T'ang master Wu Tao-tzu and his technique of outline drawing from Li Kung-lin. It is said that he drew lines so thin that they were like silken filaments and that he did not miss a single hair from the eye-lashes and eye-brows. This painting shows Śākyamuni, the historical Buddha, under a tree. His features are composed as if in a trance. Brushwork and ink consist of short, curving strokes and there is no colour. Looking at the picture, we experience the feeling that it is hard to say whether the Buddha is real or painted. We are transported into the serenity of the pure land of Hua-yen.
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內容簡介（中文） |
此幀畫法相莊嚴的釋迦牟尼佛，其雙手結禪定印，結跏趺坐於娑羅樹下。通幅全用墨筆鉤染，不著顏色。人物衣紋線條圓潤流暢，釋迦牟尼佛身後的老樹盤結，樹葉或以墨點，或用鉤勒，墨色雖有深淺的變化，但已具裝飾性。全作筆法生動而富變化，別有一種古拙渾厚的意趣。
此幀款云：「佛子丁雲鵬敬寫」，但未署年款。根據它的畫風特色與幅上兩則鄒之麟的題識，推測此畫當成於1606年以後，約為丁氏六十餘歲之作。
(20120715)
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內容簡介（英文） |
This painting is a majestic portrayal of the Shakyamuni Buddha sitting cross-legged under a sala tree with his hands in the gesture of meditation. The work features lines and washes of monochrome ink devoid of any colors. The drapery lines of the figure are round and flowing, the gnarled tree behind Shakyamuni having leaves done with dots and outlines. There is variation in the darkness of the ink tones, but they are also somewhat decorative in quality. The brushwork throughout is vivid and varied with a strong element of archaism.
The signature on this work reads, “Reverently painted by the Buddhist disciple Ding Yunpeng,” but does not include a date. The stylistic features and two inscriptions by Zou Zhilin, however, suggest it was painted after 1606, sometime after Ding Yunpeng was about sixty.
(20120715)
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參考書目 |
童文娥，〈明丁雲鵬畫釋迦牟尼佛 軸〉，收入林麗江、何炎泉主編《寫盡繁華-晚明文化人王世貞與他的志業》（臺北：國立故宮博物院，2022.10），頁198。
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