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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151
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁426
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收藏著錄 |
故宮書畫圖錄，第八冊，頁157-158
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內容簡介（中文） |
項元汴，生於世宗嘉靖四年（西元一五二五），卒於神宗萬曆十八年（西元一五九○），浙江嘉興人，字子京，別字墨林居士，為江南大收藏家。精鑒賞，故能畫，山水學元黃公望、倪瓚。又寫梅，蘭，竹石，皆能得其幽情逸致。
畫善才童子向空頂禮，惟見毫光一道，不見菩薩所在。故本幅雖云畫佛，實則仍是山水畫格局，此乃緣因元後佛教衰微，佛畫與一般人物畫無異，多與山水畫相配繪製。
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內容簡介（英文） |
Hsiang Yuan-pien was a native of Chia-hsing. His tzu (style name) was Tzu-ching; his hao (sobriquet) was Mo-lin chu-shih. A discerning connoisseur and collector, Hsiang Yuan-pien was fond of painting. His landscapes were modelled after the Yuan masters Huang Kung-wang and Ni Tsan. He also turned his hand to painting plum blossoms, orchids, bamboo and rocks, capturing their retiring, unaggressive beauty.
The title of this painting refers to Sudhana prostrating himself towards the sky. However, the Bodhisattva himself is hidden amid a dazzling ray of light. Thus, although the painting is said to be of a Buddhist nature, it more properly belongs to pure landscape. The reason for this is that, from the Yuan dynasty onwards, Buddhism had lost much of its vitality in China. Buddhist painting became to resemble more and more ordinary figure painting, and many works were no different from ordinary landscapes.
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內容簡介（中文） |
項元汴（西元一五二五－一五九0年）字子京，別字墨林居士，為江南的大收藏家，家藏既多，薰習之久，亦能自運。其山水學元黃公望、倪瓚，尤醉心於倪，得其勝趣。此幅畫松石崖瀑，用筆秀勁流暢，構景命意皆靜穆之甚。善才童子向空頂禮，取勢生動，似見仇英風範。雖云畫佛，仍是山水畫格局。右下有其孫項聖謨之題識「天童弟子通變天籟閣孫男聖謨。壬辰（一六五二）中秋日拜題」。
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內容簡介（英文） |
Xiang Yuanbian was a major Jiangnan connoisseur who studied painting from his great collection. His landscapes followed Huang Gongwang and Ni Zan’s, as he particularly admired Ni’s and achieved its virtues. Featuring a pine amid crags and a cascade, this work was done in elegantly beautiful and fluent brushwork, the composition also quite solemn and quiet. The boy Sudhana is shown prostrating to the sky in an animated pose, similar to Qiu Ying’s style. Though a Buddhist subject, this is actually more a landscape painting. In the lower right is an inscription by Xiang’s grandson: “I, Grandson Shengmo, the young disciple versed in the Hall of Heavenly Sounds, reverently inscribe this on the Mid-Autumn day of the renchen year (1652).”
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