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【類別】 |
【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456
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收藏著錄 |
故宮書畫圖錄，第八冊，頁345-346
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參考書目 |
1.〈明丁雲鵬白馬馱經圖〉，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140。
2.林柏亭、張華芝，〈明丁雲鵬白馬馱經〉，收入林柏亭、張華芝編，《畫馬名品特展圖錄》（臺北：國立故宮博物院，1990年元月初版），頁95-96。
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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內容簡介（中文） |
丁雲鵬（一五四七－一六二八尚在）。詩畫俱佳，董其昌以摩詰相擬。身為佛門弟子，薰冶既深，佛釋畫自漸趨於專門。 案，漢明帝時曾派遣蔡愔前往天竺求取佛經。兩年後，天竺僧法蘭與迦葉摩騰自西域以白馬馱經來至中國，並創置白馬寺。此圖即繪白馬馱經的故事。完成於天啟乙丑（一六二五），為丁氏晚年作品，脫去早年之繁細作風，而趨疏簡清逸之畫境。
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內容簡介（英文） |
Ting Yun-p'eng was influenced by his father and came to enjoy painting. He also studied under Chan Ching-feng. The artist-critic Tung Ch'i-ch'ang praised his poetry and painting. A devout Buddhist, Ting gradually specialized in Buddhist subjects. According to Han historical records, Ts'ai Yin was dispatched to India in 65 AD to collect Buddhist scriptures. After two years, two Indian monks led a white horse laden with sūtras. Upon arrival in China, they established the White Horse Temple. This work illustrates the story and shows attendants leading the white horse with the monks behind. It was done in 1625, when Ting was aged 78. Shedding the fine style of his early period, this late work appears increasingly relaxed and pure in manner.
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內容簡介（中文） |
丁雲鵬（西元一五四七－一六二八尚在）。詩畫俱佳，董其昌以摩詰相擬。身為佛門弟子，薰冶既深，佛釋畫自漸趨於專門。漢明帝時曾派遣蔡愔前往天竺求取佛經。兩年後，天竺僧竺法蘭與迦葉摩騰自西域以白馬馱經來至中國，並創置白馬寺。此圖即繪白馬馱經故事，完成於天啟乙丑（西元一六二五年），為丁氏晚年作品，脫去早年之繁細作風，而趨疏簡清逸之畫境。(20091016)
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內容簡介（英文） |
Ding Yunpeng was gifted in both painting and poetry, with his famous contemporary Dong Qi-chang comparing him to the renowned Tang dynasty poet-painter Wang Wei. As a devout Buddhist, Ding came to specialize in Buddhist subjects. The Han dynasty emperor Mingdi sent Cai Yin to India to acquire Buddhist scriptures. Two years later, two Indian monks (Gobharana and Kasyapa) traveled through China’s western regions, escorting a white horse with sutras on its back and finally establishing the White Horse Temple. This painting illustrating that story was done in 1625. A late work by Ding Yunpeng, it does not have the finesse of his earlier style but tends to be looser and more untrammeled.(20091016)
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網頁展示說明 |
漢明帝曾派遣蔡愔前往天竺求取佛經，兩年後，天竺僧竺法蘭與迦葉摩騰自西域以白馬馱經來至中國。此圖即繪白馬馱經的故事。
本幅作於天啟乙丑年（1625），是丁雲鵬七十九歲之精心傑作。大體而言，丁氏晚年的道釋畫多以水墨為之，用筆粗放，而此圖則用設色細筆作畫，又回歸至其早年的繪畫風格。然細審此作，發現樹幹平直少彎曲，畫葉寫意，僅用淡墨汁綠層層點染，衣紋線條遒勁簡古。全作變早期精工為疏簡，極具逸趣。
(20120715)
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網頁展示說明 |
Emperor Mingdi of the Han dynasty sent Cai Yin to India to acquire Buddhist scriptures (sutras). Two years later, the Indian monks Dharmaratna and Kāśyapa-mātavga came to China from western regions bringing sutras on a white horse. This painting illustrates the story of a white horse carrying sutras.
This work painted in 1625 is a masterpiece by Ding Yunpeng from the Chinese age of 79. Generally speaking, Ding's late religious works were mostly done in monochrome ink with coarse brushwork. This painting, however, features fine brushwork and colors, marking a return to his earlier painting style. Close examination of the trees reveals straight trunks with few knots and a sketchy rendering of the leaves, with only light ink and vegetable green used in layers of dots and washes. The drapery lines are also strong and archaic. In other words, this work is an abbreviated variation on Ding's early fine painting style creating exceptional elegance.
(20120715)
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網頁展示說明 |
漢明帝の命を受けた蔡愔は仏教経典を求めて天竺に向かった。その2年後、天竺の僧侶竺法蘭と迦葉摩騰が西域から白馬に経を積んで中國にやって來た。本作はその故事を描いたものである。
この作品は天啟丑年（1625）、79歳の丁雲鵬が描いた傑作である。おおまかに言うと、丁雲鵬が晩年に描いた道教・仏教畫の多くが水墨畫で、用筆も粗放な感があるが、この作品は細筆で丁寧に描かれ著色もされており、早年の畫風に回帰している。しかしよく見ると、真っ直ぐな木の幹がやや曲がっており、写意で描かれた木の葉は淡墨と汁綠のみで著色され、衣服の線は力強いがごく簡素に表現されているのに気づく。早期の精工緻密な畫風が簡潔明瞭なものに変わっており、格別の趣がある。
(20120715)
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