书体:
色彩:
设色,青绿,描金装裱形式:
轴创作时间:
明熹宗天启五年（1625）文字类型:
质地:
本幅纸释文:
印记资料:
鑑藏宝玺：乾隆御览之宝题跋资料:
题跋类别：作者款识；作者：丁云鹏；题跋位置：本幅；款识：乙丑（西元一六二五年）秋日。奉佛弟子丁云鹏拜写。；书体：楷书；全文： 印记：丁云鹏印、南羽主题:
主要主题：经史‧故事 白马驮经主要主题：佛道人物僧（和尚、尼姑）竺法兰、迦叶、摩腾；次要主题：人物官员（臣）蔡愔；次要主题：走兽马白马；其他主题：山水江河、湖海 ；其他主题：人物侍从（侍女、童仆）4人；其他主题：树木 ；其他主题：花草莲荷 ；其他主题：器用宗教器用经盒、净瓶、锡杖、幡、经卷、贝；其他主题：器用枴杖 ；其他主题：器用 马鞍、架；其他主题：花草技法:
工笔 皴法披麻皴人物衣纹描法(匀称线条) 苔点参考资料:
收藏着录： 秘殿珠林续编（干清宫），页163 收藏着录： 故宫书画录（卷五），第三册，页456 收藏着录： 故宫书画图录，第八册，页345-346 参考书目： 1.〈明丁云鹏白马驮经图〉，收入国立故宫博物院编，《晚明变形主义画家作品展》（台北：国立故宫博物院，1977年九月初版），页140。2.林柏亭、张华芝，〈明丁云鹏白马驮经〉，收入林柏亭、张华芝编，《画马名品特展图录》（台北：国立故宫博物院，1990年元月初版），页95-96。3.李玉珉；〈心印毫生—丁云鹏绘画展〉，《故宫文物月刊》，第352期（2012年7月份），页90-105。 内容简介（中文）： 丁云鹏（一五四七－一六二八尚在）。诗画俱佳，董其昌以摩诘相拟。身为佛门弟子，薰冶既深，佛释画自渐趋于专门。 案，汉明帝时曾派遣蔡愔前往天竺求取佛经。两年后，天竺僧法兰与迦叶摩腾自西域以白马驮经来至中国，并创置白马寺。此图即绘白马驮经的故事。完成于天启乙丑（一六二五），为丁氏晚年作品，脱去早年之繁细作风，而趋疏简清逸之画境。 内容简介（中文）： 丁云鹏（西元一五四七－一六二八尚在）。诗画俱佳，董其昌以摩诘相拟。身为佛门弟子，薰冶既深，佛释画自渐趋于专门。汉明帝时曾派遣蔡愔前往天竺求取佛经。两年后，天竺僧竺法兰与迦叶摩腾自西域以白马驮经来至中国，并创置白马寺。此图即绘白马驮经故事，完成于天启乙丑（西元一六二五年），为丁氏晚年作品，脱去早年之繁细作风，而趋疏简清逸之画境。(20091016) 内容简介（英文）： Ding Yunpeng was gifted in both painting and poetry, with his famous contemporary Dong Qi-chang comparing him to the renowned Tang dynasty poet-painter Wang Wei. As a devout Buddhist, Ding came to specialize in Buddhist subjects. The Han dynasty emperor Mingdi sent Cai Yin to India to acquire Buddhist scriptures. Two years later, two Indian monks (Gobharana and Kasyapa) traveled through China’s western regions, escorting a white horse with sutras on its back and finally establishing the White Horse Temple. This painting illustrating that story was done in 1625. A late work by Ding Yunpeng, it does not have the finesse of his earlier style but tends to be looser and more untrammeled.(20091016) 内容简介（英文）： Ting Yün-p'eng was influenced by his father and came to enjoy painting. He also studied under Chan Ching-feng. The artist-critic Tung Ch'i-ch'ang praised his poetry and painting. A devout Buddhist, Ting gradually specialized in Buddhist subjects. According to Han historical records, Ts'ai Yin was dispatched to India in 65 AD to collect Buddhist scriptures. After two years, two Indian monks led a white horse laden with sūtras. Upon arrival in China, they established the White Horse Temple. This work illustrates the story and shows attendants leading the white horse with the monks behind. It was done in 1625, when Ting was aged 78. Shedding the fine style of his early period, this late work appears increasingly relaxed and pure in manner. 网页展示说明 汉明帝曾派遣蔡愔前往天竺求取佛经，两年后，天竺僧竺法兰与迦叶摩腾自西域以白马驮经来至中国。此图即绘白马驮经的故事。本幅作于天启乙丑年（1625），是丁云鹏七十九岁之精心杰作。大体而言，丁氏晚年的道释画多以水墨为之，用笔粗放，而此图则用设色细笔作画，又回归至其早年的绘画风格。然细审此作，发现树干平直少弯曲，画叶写意，仅用淡墨汁绿层层点染，衣纹线条遒劲简古。全作变早期精工为疏简，极具逸趣。(20120715) 网页展示说明 Emperor Mingdi of the Han dynasty sent Cai Yin to India to acquire Buddhist scriptures (sutras). Two years later, the Indian monks Dharmaratna and Kāśyapa-mātavga came to China from western regions bringing sutras on a white horse. This painting illustrates the story of a white horse carrying sutras.This work painted in 1625 is a masterpiece by Ding Yunpeng from the Chinese age of 79. Generally speaking, Ding's late religious works were mostly done in monochrome ink with coarse brushwork. This painting, however, features fine brushwork and colors, marking a return to his earlier painting style. Close examination of the trees reveals straight trunks with few knots and a sketchy rendering of the leaves, with only light ink and vegetable green used in layers of dots and washes. The drapery lines are also strong and archaic. In other words, this work is an abbreviated variation on Ding's early fine painting style creating exceptional elegance.(20120715) 网页展示说明 汉明帝の命を受けた蔡愔は仏教経典を求めて天竺に向かった。その2年后、天竺の僧侣竺法兰と迦叶摩腾が西域から白马に経を积んで中国にやって来た。本作はその故事を描いたものである。この作品は天启丑年（1625）、79歳の丁云鹏が描いた杰作である。おおまかに言うと、丁云鹏が晩年に描いた道教・仏教画の多くが水墨画で、用笔も粗放な感があるが、この作品は细笔で丁宁に描かれ着色もされており、早年の画风に回帰している。しかしよく见ると、真っ直ぐな木の干がやや曲がっており、写意で描かれた木の叶は淡墨と汁绿のみで着色され、衣服の线は力强いがごく简素に表现されているのに気づく。早期の精工致密な画风が简洁明了なものに変わっており、格别の趣がある。(20120715)
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