书体:

色彩:

水墨

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅纸

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：祕殿珠林
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：珠林重定
鑑藏宝玺：祕殿新编
鑑藏宝玺：干清宫鑑藏宝
鑑藏宝玺：太上皇帝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺

题跋资料:

题跋类别：作者款识；作者：贾师古；题跋位置：本幅；款识：师古楷书

主题:

主要主题：佛道人物观音 主要主题：山水奇石 ；其他主题：器用宗教器用 

技法:

参考资料:

收藏着录： 秘殿珠林续编（干清宫），第一册，页78 收藏着录： 故宫书画录（卷五），第三册，页81-82 收藏着录： 故宫书画图录，第二册，页91-92 参考书目： 1.李玉珉，〈(传)宋贾师古大士像〉，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191。2.〈宋贾师古大士像〉，收入刘芳如主编，《书画装池之美》（台北：国立故宫博物院，2008年初版一刷），页58。3.本社，〈贾师古大士像〉，《故宫文物月刊》，第27期（1985年6月），页1。 内容简介（中文）： 观音菩萨悠閒自在地靠在岩石上，手中净瓶洒下的甘露化成一朵莲花。观音的轮廓和五官以细笔钩画，匀整细致，衣纹线条粗细变化很大，强劲有力。根据画上「师古」两字的款题，过去认为这件画轴是宋代贾师古（活动于1131－1162）的作品，可是画中画石的方法和明初的山水画近似，应该是一幅明代画家假借贾师古之名的作品。虽然如此，但他的绘画技巧纯熟，仍不失为一幅佛教画的佳作。 内容简介（英文）： Chia Shih-ku was a native of K'ai-feng, in Honan province. He served at the court painting academy during the Shao-hsing reign (1131-1162). A skilled painter of religious subject, Chia Shih-Ku followed the style of Li Kung-lin. His pai-miao (ink outline) figures have an untrammeled air. The bodhisattva, adorned with jewels, is seated on a rocky cliff. The water of Buddha-truth pours out from her vase and transforms into a lotus flower. Her manner is vary relaxed. Cliff rocks are modeled with axe-cut texture strokes ,and the brushstrokes are vigorous and unrestrained. The bodhisattva's hair and details of her face are all meticulously outlined ; the folds of her robes are distinctly executed with an angular brushline. The brush work within the painting is lively, full of variation , and nicely balanced. 内容简介（英文）： Kuan-yin sits leaning on a rock as the water of Buddha-truth pours from the vase she is holding and transforms into a lotus blossom. The details of Kuan-yin are rendered with exceptionally fine brushwork. In contrast, the drapery lines vary considerably in thickness and are done with great force. Judging from the “Shih-ku” signature to the lower right of the figure, this work was considered at one point to have been painted by the Sung artist Chia Shih-ku. However, the treatment of the rocks is similar to landscape painting of the early Ming (l368-1644), indicating that the signature is a later addition. Nevertheless, the mature and skillful painting techniques still make this a masterpiece of Ming dynasty Buddhist art.