基本資料 藏品類型 繪畫
文物統一編號 故畫002986N000000000 抽盤點紀錄 修護紀錄
作品號 故畫00298600000
品名 明吳彬畫魚籃觀音 軸
分類 繪畫
作者 吳彬;Wu Bin
數量 一軸

典藏尺寸 【位置】 【尺寸】(公分)
本幅 187.8x85

質地 【質地位置】 【質地】
本幅

題跋資料 【題跋類別】 【作者】 【位置】 【款識】 【書體】 【全文】
作者款識 吳彬 本幅 枝隱庵頭陀吳彬齋心拜寫 行書
印記: 吳彬之印、吳氏文中

印記資料 【印記類別】 【印記】
鑑藏寶璽 乾隆御覽之寶
鑑藏寶璽 宣統御覽之寶
鑑藏寶璽 太上皇帝之寶
鑑藏寶璽 嘉慶御覽之寶
鑑藏寶璽 乾隆鑑賞
鑑藏寶璽 秘殿珠林
鑑藏寶璽 三希堂精鑑璽
鑑藏寶璽 宜子孫
鑑藏寶璽 秘殿新編
鑑藏寶璽 珠林重定
鑑藏寶璽 乾清宮鑑藏寶

主題 【主題類別】 【主題(第一層)】 【主題(第二層)】 【主題說明】
主要主題 佛道人物 觀音
其他主題 樹木 竹葉
其他主題 器用 宗教器用 經卷
其他主題 器用 服飾(對人) 草鞋.耳環
其他主題 水中動植物
主要主題 佛道人物 善才、龍女 善才
其他主題 器用 魚籃

技法 【技法】 【技法細目】
工筆
寫意
人物衣紋描法(勻稱線條)

參考資料 【類別】 【參考資料】
收藏著錄 秘殿珠林續編(乾清宮),頁157
收藏著錄 故宮書畫錄(卷八),第四冊,頁85
收藏著錄 故宮書畫圖錄,第八冊,頁285-286
內容簡介(中文) 吳彬(活動於一五六八-一六二七),字文中,一作文仲,號質先。福建莆田人,後來遷居金陵(今南京)。擅長畫山水、花鳥和佛教人物。畫中的魚籃觀音穿著草鞋,手上拿著經卷,身側的童子手提魚籃隨侍。畫中的觀音雖然是一位女子,不過臉作橢圓形,濃眉大眼,絲毫沒有女性纖秀柔美的特質。祂和童子的身體比例懸殊,人物拉長變形,衣紋線條用濃墨粗筆畫成,且多平行的弧線,全作怪異而有趣。
內容簡介(英文) Wu Pin was a native of Fukien who settled in Nanking. He specialized in painting landscapes, birds-and-flowers, and Buddhist and Taoist figures. In this painting of Kuan-yin of the Fish Basket, she wears straw sandals and holds a sūtra scroll as a child attendant stands next to her holding the fish basket. Though Kuan-yin here is supposed to be a young maiden, the heavyset features of the oval face seem to lack the beauty with which she was associated. The disproportionate size between her and the attendant makes her seem unusually large and elongated. The drapery lines are done using coarse strokes with thick ink. Though many of the lines are unnaturalistically curved and parallel, they impart an unusual yet appealing quality.
內容簡介(中文)   吳彬(活動於一五九一至一六四三年),福建莆田人,流寓南京,明萬曆年間以書畫聞名於世,所繪佛像人物,形狀奇特,自成一格。   魚籃觀音的起源有二說:一指唐代居士龐蘊的女兒靈照,乃觀音化身,曾賣竹漉離(魚籃)謀生。另據〔觀音感應傳〕,唐元和年間,陝西金沙灘有一絕色美女,挈籃賣魚,要求締婚者眾,女先後以能背誦〔普門品〕、〔金剛經〕、〔法華經〕為條件,後與能誦此三經的馬姓青年成婚,過門即死,入塚化去,眾人始悟此為觀音顯現。
內容簡介(英文) Wu Pin, a native of P’u-t’ien, Fukien, travelled to various cities in his life and eventually settled in Nanking. During the reign of Wan-li (1573-1620) he became known for his painting. He developed his own style of painting, and depicted religious figures whose forms were eccentric and unconventional. There are two stories concerning the origin of Kuan-yin with a Fishing Basket. One story is of Ling-chao, the daughter of the Buddhist layman Pang Yun of the T’ang dynasty. She made her living selling bamboo fish baskets, and was thought to be a transformation of Kuan-yin. The other story derives from The Stories of Kuan-yin’s Incarnations into the Mundane World. According to this text, a beautiful woman who sold fish lived in Chin-sha-t’an, Shansi during the Yuan-ho reign (706-720) of the T’ang dynasty. She had many suitors, and made memorizing the Samanta-mukha chapter of the Lotus Sūtra, the Diamond Sūtra, and later the entire Lotus Sūtra requirements for her hand in marriage. Eventually, she married a Mr. Ma who was able to recite all three. When she crossed the threshold of the groom’s house, however, she died. After she was buried, she was transformed and ascended to heaven. Thereupon people realized that this was an incarnation of Kuan-yin who taught people the Buddhist canon.
參考書目 1.葛婉章,〈明吳彬畫魚籃觀音〉,收入葛婉章編,《妙法蓮華經圖錄》(臺北:國立故宮博物院,1995年初版),頁118-119。 2.李玉珉,〈明吳彬畫魚籃觀音〉,收入李玉珉主編,《觀音特展》(臺北:國立故宮博物院,2000年初版),頁202-203。 3.〈明吳彬畫魚籃觀音〉,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212。 4.葛婉章,〈無緣大悲 觀達自在 — 院藏「普門品」觀音畫探究〉,《故宮文物月刊》,第112期(1992年7月),頁41-42。 5.陳韻如,《因吳彬佛教人物畫風研究》,國立台灣大學藝術史研究所碩士論文,1996年。 6.陳韻如;〈明吳彬畫魚籃觀音 軸〉,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014-015。
內容簡介(中文) 此軸右下有吳彬款題「枝隱庵頭陀吳彬齋心拜寫」並鈐印。畫觀音大士手捧經卷,垂髮髻、著長袍,額上寶冠可見有化佛一尊。身旁童子手持魚籃,說明此是融入民間信仰的魚籃觀音形象。然有別於一般女性裝扮,畫中觀音顯得更為中性。這與晚明對觀音大士無需受限男女之相的論點有關。此軸與〈畫佛像〉作風及尺幅相近,或許是成組的製作。 (20121018)
內容簡介(英文) At the lower right of this painting are impressions of seals by Wu Bin and his signature that reads, “Rendered with pure reverence by Wu Bin, [sobriquet] Zhiyin toutuo (Dhuta).” It depicts the bodhisattva Avalokiteshvara (Guanyin) holding a scroll, with long hair tied, and wearing flowing robes. A Buddha is manifested on the forehead headpiece. By the side is a youth holding a fish basket, indicating that this work incorporated the folk tradition of Guanyin with a fish basket. As opposed to a feminine approach to the figure generally seen, this work reveals Guanyin as more gender neutral. This is related to late Ming discourse on Guanyin not being restricted to either male or female form. The size and style of this work are comparable to “Buddhist Figure,” perhaps once having formed part of the same set of paintings. (20121018)
參考書目 何傳馨,〈明吳彬畫魚籃觀音 軸〉,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14-15、212。
參考書目 黃逸芬,〈明吳彬畫魚籃觀音 軸〉,收入鍾子寅主編《法華經及其美術》(臺北:國立故宮博物院,2022.03),頁220-221。