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:

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
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
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝

题跋资料:

题跋类别：作者款识；作者：仇氏杜陵内史；题跋位置：本幅；款识：仇氏薰沐拜写；书体：行楷书；全文： 印记：杜陵内史、斧藻含章

主题:

主要主题：佛道人物观音 ；次要主题：花草莲荷 ；其他主题：器用宗教器用净瓶中插柳枝，莲台座；其他主题：树木杨柳柳枝

技法:

白描 工笔 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 秘殿珠林续编（干清宫），页146 收藏着录： 故宫书画录（卷五），第三册，页365 收藏着录： 故宫书画图录，第九册，页33-34 参考书目： 1.李玉珉，〈明仇氏杜陵内史白衣大士像〉，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194-195。 内容简介（中文）： 仇氏，名珠，号杜陵内史，生卒年不详，是明代名画家仇英（约一四九四－一五五二）的女儿，江苏太仓人。受到她父亲的影响，仇氏的山水和人物画都画得很好。荷塘里，荷叶迎风招展，白衣观音端坐在青色的莲花上，身侧则是祂常拿在手中的净瓶、杨柳和水杯。水面的荷叶、芦苇都只用线条钩勒轮廓，而观音菩萨的衣衫却涂染颜色，相映成趣。这轴观音秀逸脱俗，是明代女性画家作品中的佼佼者。 内容简介（中文）： 仇氏（西元十六世纪后期），名不详，明四大家之一仇英之女，号杜陵内史。工画人物，细密精研极得父法，山水亦秀丽绝尘。 此画白衣观音坐莲花上，画法异常，不落俗套。水面莲叶苇草都作勾勒，仅大士衣身，薄敷彩色，似为强调主题。通幅用笔，线条圆劲秀逸，其白描工夫之洗炼沈静，已到不食人间烟火地步。 内容简介（英文）： The painter of this work was the daughter of the famous Ch'iu Ying. Her name is not recorded. Tu-ling nei-shih was her sobriquet. A good figurist, she inherited her father's delicate and refined style. Her landscapes also possess a refined beauty. This work shows the PândaravâsinīKuan-yin (Goddess of Mercy) on a white lotus. Her painting technique exhibits a refined and coherent wholeness. The lotus and leaves are painted with double strokes. There is colour only on the figure, as if the intention was to emphasize strongly the subject. A freely-flowing elegance permeates throughout the painting, the result of long and arduous training that lifts her art above the ordinary. 内容简介（英文）： The daughter of the famous artist Ch'iu Ying (ca. 1494-1552) went by the name Chu and the sobriquet Tu-ling nei-shih. Influenced by her father, she was good at landscape and figure painting. In this work, the White-robed Kuan-yin sits on a large blue lotus blossom rising from a pond and surrounded by lotus leaves and reeds. Resting on a lotus pod next to her is the water vase of purity that Kuan-yin is often shown holding. The vase rests in a water cup and holds a willow branch. The leaves and reeds are done in outlines and light ink washes. While other details include washes of color for contrast, especially the white pigment of Kuan-yin's robes. The elegance and otherworldliness make this a beautiful work by a female artist of the late Ming.