书体:

色彩:

泥金

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：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
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：邢慈静；题跋位置：本幅；款识：感应无方。智慧无碍。以最胜缘。得大自在。清波莲叶。法相胥融。亦仙亦佛。长生之宗。信女人慈静画。并赞。楷书

主题:

主要主题：佛道人物观音 ；其他主题：花草莲荷莲瓣；其他主题：器用宗教器用佛珠

技法:

白描 人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 秘殿珠林续编（干清宫），页180 收藏着录： 故宫书画录（卷五），第三册，页448 收藏着录： 故宫书画图录，第九册，页35-36 参考书目： 1.葛婉章，〈明邢慈静画大士〉，收入葛婉章编，《妙法莲华经图录》（台北：国立故宫博物院，1995年初版），页117。2.张华芝，〈邢慈静画大士〉，收入刘芳如、张华芝主编，《群芳谱 — 女性的形象与才艺》（台北：国立故宫博物院，2003年初版一刷），页177。 内容简介（中文）： 邢慈静（西元十六世纪后期），山东临清人，书画家邢侗之妹，善竹石及白描大士。大士为佛教中菩萨之称号，本帧所画为观世音菩萨，画法用白描法，然以金代墨，故称描金。大士法相庄严，足踏莲瓣，衣裾飘扬，用笔简洁有力。 内容简介（中文）： 邢慈静（西元十六世纪后半—十七世纪初），山东临邑人，书画家邢侗（西元一五五一年—一六一二年）之妹，善竹石及白描大士，是明代闺阁书画家。大士为佛教中菩萨称号，本帧为观世音菩萨。大士法相庄严，手持串珠，足踏莲瓣，衣裾飘扬，祥静中蕴含着动势。全图采用白描画法，在暗色底纸上，以泥金代墨，使描绘对象更加显目。纸幅上半并有画家泥金书写四言八句赞语，表达礼佛、尊佛之意。(20091016) 内容简介（英文）： Xing Cijing (native to Lingqing, Shandong) was the younger sister of the painter-calligrapher Xing Dong (1551-1612) and excelled at bamboo-and-stone themes and paintings of Guanyin in outline (baimiao) style, making her a prominent female painter-calligrapher of the Ming. “The Great” is a term in Buddhism used to refer to a bodhisattva, here depicting the compassionate Guanyin. She appears very dignified holding rosary beads and standing on a large lotus petal with her robes fluttering in the breeze, bringing movement to her static pose. The work was done in lines of gold ink on dark paper, making her stand out even more. It also features eight four-character lines of praise by the painter, expressing her Buddhist devotion.(20091016) 内容简介（英文）： Hsin Tz'u-ching was a native of Ling-ch'ing, Shantung province. She was the sister of the calligrapher Hsin T'ung and was famous for paintings of bamboo, rock and pai-miao (outline drawing) Bodhisattve. In this painting, gold is employed to draw the figure. This method is called miao-chin (paint in gold) which is similar to pai-miao technique, only that gold powder is applied instead of the ink. The Bodhisttva stands on a lotus petal with her garment floating in the air. The terse lines of the face and dress reveals a controlled hand of the painter.