| 參考資料 |
【類別】 |
【參考資料】 |
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收藏著錄 |
故宮書畫錄（卷四），第二冊，頁235
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收藏著錄 |
故宮書畫圖錄，第十九冊，頁355-358
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參考書目 |
1.李玉珉，〈明吳彬畫十八應真〉，收入李玉珉主編，《羅漢畫》（臺北：國立故宮博物院，1990年初版），頁79。
2.〈明吳彬畫十八應真〉，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274。
3.陳韻如；〈（傳）明吳彬畫十八應真〉，收入何傳馨主編，《狀奇怪非人間 吳彬的繪畫世界》（臺北：國立故宮博物院，2012年十月初版），頁172-175。
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內容簡介（中文） |
吳彬（活動於西元一五六八至一六二七年），字文中，又字文仲，自稱枝菴髮僧，福建莆田人。萬曆間，以書畫擅名。工佛像人物，形狀奇怪，迥異前人，自立門戶，別具風格。 本幅白描畫降龍、伏虎等十八羅漢，於水上各顯神通，點綴以孩童、侍者、蝦蟹、蛟犀、龍虎等。此幀用筆清勁秀雅，方筆獨多。人物姿態千變萬化，神情栩栩如生。根據幅上題款，此作成於崇禎癸未（西元一六四三）年。
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內容簡介（英文） |
Wu Pin (style names; Wen-chung and Wen-chung) called himself Chih-an fa-seng (The Untonsured Monk of Chih-an) and was a native of P’u-t’ien, Fukien. He excelled at both painting and calligraphy and achieved fame during the Wan-li era (1573-1620). He was good at painting Buddhist figures, the forms of which are often bizarre and completely different from those of previous painters. He consequently established his own style. This painting in the pai-miao (plain-line) manner includes depictions of the eighteen lohans, such as the Subduing-dragon and Prostrate-tiger, who appear in various manifestations of their supernatural powers on the water. Embellishments to the painting include representations of a shrimp, crab, chiao-dragon, hsi-rhinoceros, dragon, tiger, and several children and attendants. The brushwork in this painting is pure, strong, and elegant, with angular brushstrokes being particularly numerous. The various postures of the figures make them feel active and come to life. According to the inscription, this painting was done in 1643.
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內容簡介（中文） |
此為白描羅漢圖，畫羅漢各顯神通力渡海場面。此類渡海羅漢在明代十分流行，丁雲鵬名下也有此類畫卷。此卷中羅漢臉相與吳彬畫法不同，學者指出與加拿大所藏作品相近，據款題記年為萬曆十一年（1583），推測或許與吳彬早期畫風有關。然從款書判斷，應非吳彬真蹟。惟從羅漢造型來看，仍可見晚明佛教人物畫風面貌。
(20121018)
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內容簡介（英文） |
This painting of lohans (arhats) in fine-line monochrome ink (“baimiao”) depicts these figures with various powers crossing the sea. This type of lohan-crossing-the-sea imagery was very popular in the Ming dynasty, with a handscroll similar to this under Ding Yunpeng’s name. The faces of the lohans in this handscroll, however, differ from the painting style of Wu Bin. Scholars have pointed out that they are similar to a work in a Canadian collection. Judging from the signature giving a date equivalent to 1583, perhaps this is related to an early style of Wu Bin. However, based on the style of the signature, it is probably not an authentic work by him. Nonetheless, from the form of the lohans, we can still see the style of late Ming Buddhist figure painting.
(20121018)
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參考書目 |
何傳馨，〈明吳彬畫十八應真 卷〉，收入《狀奇怪非人間-吳彬的繪畫世界》（臺北：國立故宮博物院，2012.10），頁172-175、221。
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