书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

题跋资料:

主题:

主要主题：佛道人物观音 

技法:

人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页177 收藏着录： 故宫书画图录，第三册，页319-320 参考书目： 1.李玉珉，〈(传)宋人观音大士〉，收入李玉珉主编，《观音特展》（台北：国立故宫博物院，2000年初版），页213-214。 内容简介（中文）： 观音菩萨蓝色的长发垂肩，头上戴着宝冠，宝冠正中还画着一尊坐佛，手拿杨柳和透明的玻璃碗。祂衣着华丽，身上佩戴着许多装饰品。本院旧有的典藏目录称，这是一幅宋代画家的作品。这幅观音的造形的确和流传到日本的宋代观音像近似，可是画家在观音的双眉、鼻子和下巴特别敷染白粉，衣纹的线条也比较粗，这些表现手法都和宋代不同，它应该是一幅后人临摹宋代观音的作品。 内容简介（中文）： 观音菩萨身着华丽锦衣，披配各式璎珞，蓝色的长发垂肩，首戴庄严宝冠，冠中安置一尊阿弥陀佛像。一手执柳枝，一手持透明玻璃水杯。足踏青、白莲花各一，款步而行，衣带飘扬。其容貌宁和，状甚安详。观音是阿弥陀佛的脇侍，弥陀入灭后，观音也将成佛补其储位，因此观音宝冠中，往往安置弥陀入定像，水杯或净瓶中盛甘露，喻涤除众生无明尘垢。柳枝则代表观音拔苦济难的特质。本院旧有的典藏目录称，这是一幅宋代画家的作品。这幅观音的造形的确和流传到日本的宋代观音像近似，可是画家造观音的双眉、鼻子和下巴特别敷染白粉，衣纹的线条也比较粗，这些表现手法都和宋代不同，它应该是一幅后人临摹宋代观音的作品。 内容简介（英文）： Kuan-yin's blue hair drapes over the shoulders in this work. Wearing a jeweled crown which bears a seated Buddha, Kuan-yin is shown placing a willow branch into the glass bowl held in the left hand. The opulent clothing is decorated with jewelry over the body. In the Museum's old catalogues, this work is listed as by an anonymous Sung artist. Indeed, the form of Kuan-yin here is similar to a Sung dynasty one that was transmitted to Japan. However, the artist has added washes of white pigment to the eyebrows, nose, and chin. Moreover, the drapery lines appear coarser. These techniques differ from those of the Sung dynasty. Consequently, this work was probably done by a later artist of the 17th or 18th century copying after a Sung model. 内容简介（英文）： Kuan-yi's blue hair drapes over the shoulders in this work. Wearing a jeweled crown which bears a seated Buddha, Kuan-yin is shown placing a willow branch into the glass bowl held in the left hand. The opulent clothing is decorated with jewery over the body. In the Museum's old catalogues, this work is listed as by an anonymous Sung artist. Indeed, the form of Kuan-yin here is similar to a Sung dynasty one that was transmitted to Japan. However, the artist has added washes of white pigment to the eyebrows, nose, and chin. Moreover, the drapery lines appear coarser. These techniques differ from those of the Sung dynasty. Consequently, this work was probably done by a later artist of the 17th or 18th century copying after a Sung model.