书体:

色彩:

水墨

装裱形式:

卷

创作时间:

文字类型:

质地:

本幅纸引首纸拖尾纸

释文:

印记资料:

鑑藏宝玺：广运之宝
鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：秘殿珠林
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
收传印记：吴宽
收传印记：赵宦光字凡夫书画印
收传印记：琅邪世家
收传印记：锡山华氏补菴收藏印
收传印记：太原王宠
收传印记：辛夷馆印
收传印记：宝蕴楼书画录

题跋资料:

题跋类别：作者款识；作者：朱芾；题跋位置：本幅；款识：朱芾；书体：楷书；全文： 印记：朱芾

题跋类别：题跋；作者：冷谦拖尾洪武九年四月八日。冷谦书。；书体：楷书；全文：宝积经。鬼子母者。是鬼神王般若迦妻。有子一万。皆有大力之士。其最小子宾迦罗。此鬼子母凶暴妖虐。杀人儿子。以自噉食。人民患之。仰告世尊。尔时即取其子宾迦罗。盛着钵底。鬼子母周徧天下。七日之中。推求不得。忧愁烦恼。传闻。他人言云。佛世尊有一切智。即至佛所。问儿所在。时佛答言。汝有万子。惟失一子。苦恼忧愁。而推觅耶。世间人民或有一子。或三五子。而汝杀害。鬼子母白佛言。我若得见宾迦罗。永不杀世人之子。佛即使鬼子母见宾迦罗于钵下。尽其神力。不能得取。还求于佛。佛言。汝今受三皈五戒。尽寿不杀。当还汝子。鬼子母如佛勑。受于三皈。及其五戒。受持已讫。即还其子。佛言。汝好持戒。汝是迦叶佛时。羯肌尊者。偶因尘念。遂至堕落。今好持受。当复本观。于是鬼子母信受奉行。作礼而退。洪武九年四月八日。冷谦书。印记：冷谦私印

主题:

主要主题：经史‧故事 故事（揭钵图）　主要主题：佛道人物鬼怪鬼子母主要主题：佛道人物佛 ；次要主题：佛道人物鬼怪 ；其他主题：器用扇 ；其他主题：佛道人物罗汉（应真、尊者） ；其他主题：器用乐器鼓、角；其他主题：树木松 ；其他主题：人物孩童 ；其他主题：走兽鹿 ；其他主题：器用仪仗（佛教宝盖）旌旗；其他主题：走兽蛇．蜥蜴蛇；其他主题：佛道人物天王 ；其他主题：器用兵器刀、剑、戟、杵、弓、箭；其他主题：祥瑞麒麟 ；其他主题：树木  ；其他主题：山水溪涧、湍泉溪涧；其他主题：花草 草；其他主题：山水奇石 ；其他主题：人物仕女 ；其他主题：器用 绳；其他主题：器用宗教器用钵；其他主题：器用饮食器杯

技法:

白描 工笔 皴法 人物衣纹描法(匀称线条) 苔点 

参考资料:

收藏着录： 故宫书画图录，第十八册，页79-84 内容简介（中文）： 朱芾，字孟辨，号沧州生，江苏松江人。洪武(一三六八－一三九八)初征任编修，改中书舍人。工诗词、书法，亦善画芦雁、山水与白描人物。 本幅绘佛渡化鬼子母之故事。鬼子母性凶残，常掳人子而食。佛取其爱子，藏于钵底，鬼子母遣众鬼叉竭力救之不得，佛便劝其皈依持戒，勿再为虐。画中白描线条灵转多变，并敷淡墨表现立体。鬼卒形象夭矫夸张，更对照出佛的沉稳慈悲。 内容简介（中文）： 朱芾，字孟辩，号沧洲生，江苏松江人。洪武初以征聘至官编修，改中书舍人。工词章翰墨之学，以篆隶行草书法名着于世。善画芦雁、山水、及白描人物。 本幅画释迦牟尼佛渡化鬼子母之事。据「宝积经」，鬼子母有子一万，性极凶残，常食他人之子。释迦牟尼遂取其爱子宾迦罗，藏置钵底。鬼子母极尽全力，不能救之。后从释迦教诲，受三皈五戒，发誓永不喫人。此卷水墨白描，绘写人物，线条灵活多变，并以淡墨分出阴阳，具立体感。人物个性鲜明，神情生动，栩栩如生。 内容简介（英文）： Lifting the Overturned Alms-bowlChu Fu (fl. 1368-1398)Ming dynasty A native of Sung-chiang, Kiangsu province, Chu Fu style-named himself Meng-pien and took the sobriquet Ts’ang-chou-shen. He served as an Imperial Secretary during the Hung-wu reign (1368-1398). An excellent poet, he was also renowned for his calligraphy in the seal, clerical, semi-cursive, and cursive scripts. He was an accomplished painter of geese among reeds, as well of landscapes and of drawn figures. This painting depicts the story the redemption of Hāritī by the Śākyamuni Buddha. According to the Ratna-kūţa sūtra, Hāritī was a cruel and mean woman, who possessed ten thousand children of her own, but habitually devoured other people’s children. The Śākyamuni Buddha took her beloved son Pingala and covered him under an alms-bowl. Hāritī tried every means to Śākyamuni’s teaching, vowed never to eat any human child, and was converted to Buddhism. This handscroll is drawn in monochrome ink. The portrayal of figures is executed with lively brush strokes full of variations. Light ink is applied to shade the shadowy area and enhance the sense of three dimentional effect. Each figure comes to life with distinctive characteristics. 内容简介（英文）： Lifting the Overturned Alms-bowlChu Fu (fl. 1368-1398)Ming Dynasty Chu Fu, a native of Kiangsu, served as Compiler in the early Hung-wu era (1368-1398) and later as Imperial Secretary. In addition to poetry and calligraphy, he also painted geese and reeds, landscapes, and figures in the pai-miao ink style. This painting depicts the story of the redemption of Hāritī by the Buddha. Hāritī was a cruel mother who devoured the children of others. So, the Buddha took her beloved son and covered him with an alms-bowl. Hāritī, trying to rescue him, failed. Having learned her lesson, she repented and converted to Buddhism. This handscroll in monochrome ink is lively and varied; volume is suggested by light ink. The exaggerated features of Hāritī contrast with the serene ones of the Buddha.