书体:

色彩:

设色,描金

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

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：秘殿新编
鑑藏宝玺：珠林重定
鑑藏宝玺：干清宫鑑藏宝
鑑藏宝玺：太上皇帝之宝
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
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

题跋资料:

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：乾隆壬午新秋御赞；书体：行书；全文：毗耶长者。维摩诘是。得无生忍。神通游戏。不着三界。示有妻子。因以身疾。说法随喜。调御遣问。率不任使。文殊爰行。承佛之旨。不二法门。辨论彼此。黙然无言。如乳合水。全图不存。师利奚止。天女散花。聊复尔尔。叶。乾隆壬午新秋御赞。印记：干、隆

主题:

主要主题：佛道人物道（道士、道姑）维摩诘主要主题：人物仕女 主要主题：器用家俱（屏风） ；其他主题：花草  

技法:

工笔 

参考资料:

收藏着录： 秘殿珠林续编（干清宫），页93 收藏着录： 故宫书画录第三册（卷五），页127-128 收藏着录： 故宫书画图录，第三册，页25-26 内容简介（中文）： 维摩诘为毗耶离城长者，释迦同时人。尝因病说法，佛遣文殊师利往与论道，世传维摩示疾图。本幅笔力劲挺，设色古厚。维摩坐榻上，背立天女而无文殊，故清高宗疑非全本。语见壬午题赞中。 内容简介（中文）： 传说中，维摩诘是印度毗耶离城的一个长者，与释迦是同时代的人。尝因病说法，佛派遣文殊师利前往与之辩论佛理。此图独画大乘居士维摩诘坐于榻上，右手持麈尾，斜靠于狮形的凭几上，左手閒置于膝。脸部有胡须，坦露的胸部似乎显示出其身体的嬴弱，其身后站有一位手执花盆的天女。本幅笔力劲挺，设色古厚。从风格观之，当是明代作品。 内容简介（英文）： The subject of "Vimalakirti Discussing the Way"describes how the Indian scholar Vimalakirti preached the Buddha's teachings while ill in bed. Mañjušri, the Bodhisattva of Wisdom, thereupon appeared and entered into a discussion with him. Here, however, only Vimalakirti is shown. He holds a fly whisk in his right hand and sits leaning against a small armrest (with his left hand leisurely on his knee). He has a long beard and his upper garments are loosened to expose the old man's chest. Behind is a maiden with a basket of flowers.The brushwork is powerful and the use of colors is archaic and rich. Judging from the figural style, however, this work appears to date from the Ming dynasty (1368-1644). 内容简介（英文）： The subject "Vimalakirti Debating the Scriptures" describes how the scholar Vimalakirti engaged in debate over Buddhist doctrine with Manjusri, the Bodhisattva of Wisdom. However, in this painting, only Vimalakirti is shown, holding a fly-whisk in his right hand. He sits at an angle against a small, lion-shaped learning table, and his left hand is leisurely placed on his knee. He has a long beard and his upper garments are loosened to expose the chest, of an old man. And standing behind is a heavenly maiden holding a basket of flowers. Judging from the figural style, it appears to be Ming (1368-1644) in date.The lohan platform on which Vimalakirti sits has screen-like sides, a soft wicker mat for comfort, and a border decorated with a circular pattern. Of the three sides with low screens, the rear one is the highest and resembles the shape of the Chinese character for mountain ( shan 山 ), hence the alternate name "mountain screen." The two horizontal slats of the screen sides have vertical braces, giving a decorative effect. The sides are made of wooden panels placed within rounded frames, which are believed to a raised line and cut to fit. The panels inside the frame and the cusped openings below the platform surface are distinguished by their beautiful natural wood grain pattern-demonstrating the exacting craftsmanship of the furniture makers.