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

题跋资料:

题跋类别：作者款识；作者：陈洪绶；题跋位置：本幅；款识：南无阿弥陀佛。大势至菩萨。观世音菩萨。圣贤当道。即为生佛临凡。仁义抚字。是亦菩萨现身。说法度生。若以菩萨应以声闻身得度者。即现声闻身。而为说法像。云门僧悔陈洪绶敬图。；书体：行书；全文： 印记：洪绶、章侯

主题:

主要主题：山水奇石 主要主题：佛道人物佛阿弥陀佛主要主题：佛道人物菩萨大势至菩萨主要主题：佛道人物观音 

技法:

工笔 皴法 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315 收藏着录： 故宫书画录（卷四），第二册，页476 收藏着录： 故宫书画图录，第九册，页81-82 参考书目： 1.葛婉章，〈明陈洪绶画莲池应化图〉，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119-120。2.李玉珉，〈明陈洪绶莲池应化图〉，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205-206。3.〈明陈洪绶莲池应化图〉，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482。4.葛婉章，〈无缘大悲　观达自在 — 院藏「普门品」观音画探究〉，《故宫文物月刊》，第112期（1992年7月），页42-43。5.张启文，〈从时空背景看金农的佛教信仰与佛画〉，《议艺份子》，第4期(2002年3月)，页27-45。 内容简介（中文）： 陈洪绶（一五九八－一六五二），浙江诸暨人。字章侯，号老莲，老迟、云门僧等。他擅长画花鸟、草虫和山水，人物画更是精妙绝伦。高大的太湖石前站着三位出家人，他们浓眉高鼻，高头大马，看上去好像外国僧人。根据画上作者的题款，祂们是阿弥陀佛、观世音和大势至菩萨。这三位人物的造形怪异，头和身体不成比例。画家用方硬的线条来钩画衣纹，看上去好像钢丝一样，挺劲有力。 内容简介（中文）： 陈洪绶（西元一五九八－一六五二年），浙江诸暨人，号老莲。晚明人物画大家，明亡后出家为僧，自称悔僧、云门僧。本幅为陈洪绶出家之后作品。据画上作者题款可知，画中三位罗汉实乃净土宗西方三圣：阿弥陀佛、观音菩萨与大势至菩萨。题款最后两句出自﹝普门品﹞：「若以菩萨应以声闻身得度者，即现声闻身，而为说法像」。此画将普门观音「无所不应化」的观念，巧妙的用之于净土佛、菩萨画境，诚为佛画意念的突破与创新。 内容简介（英文）： Manifestations of the Three Holy Ones by the Lotus Pond Ch’en Hung-shou (1599-1652) Ming Dynasty Ch’en Hung-shou, a native of Chu-chi, Chekiang province, was also known by his sobriquet Lao-lien. He was a great figure painter of the late Ming dynasty. After the fall of the Ming dynasty in 1644, he became a monk and called himself Monk Hui and Monk Yün-men. Ch’en Hung-shou painted this after he became a monk. According to his inscription, the three figures painted as lohans represent the three holy ones in Pure Land Buddhism: the Buddha Amitâbha and the Bodhisattvas Kuan-yin and Mahâsthana. The last two phrases in the inscription are from the Samanta-mukha Chapter of the Lotus Sûtra: “Kuan-yin will appear in the form of a lohan to expound the Dharma (Buddhist doctrine) to a lohan.” Ch’en Hung-shou has used the idea that Kuan-yin can assume a myriad of shapes to paint the Buddha and Bodhisattvas of the Western Paradise as lohans, thus introducing a new creativity to Buddhist painting. 内容简介（英文）： The Amitâbha Triad Ch’en Hung-shou (1599-1652) Ming Dynasty Ch’en Hung-shou, a native of Chekiang, was known for the distorted style of his bird-and-flower, insect-and-grass, and landscape painting. His figure paintings were also unparalleled. Three Buddhist monks proceed in front of a tall perforated garden rock. Their heavy facial hair and features suggest that they are foreigners. According to the artist’s inscription, they represent the Amitâbha Buddha accompanied by the bodhisattvas Kuan-yin and Mahâsthâmaprâpta. The unusual appearance of the figures is accented by the size and disproportion of the heads to the bodies. To outline the drapery, ch’en Hung-shou used his distinctive angular strokes that look as tough and powerful as steel wire.