书体:

色彩:

水墨

装裱形式:

轴

创作时间:

明熹宗天启六年（1626）

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：邵弥；题跋位置：本幅；款识：尚或可观。子胡不眎。尚或可闻。曷充其耳。广莫之野。言信其趾。伊谁可招。胜莲华侣。丙寅（西元一六二六年）秋中。馀适有行。照月勒此。石习僧弥。；书体：行书；全文： 印记：僧弥

主题:

主要主题：佛道人物观音 ；次要主题：花草莲荷 ；其他主题：器用枴杖 ；其他主题：器用宗教器用 ；其他主题：器用 杖上一小人；其他主题：山水江河、湖海 

技法:

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318 收藏着录： 故宫书画录（卷五），第三册，页490-491 收藏着录： 故宫书画图录，第九册，页237-238 参考书目： 1.葛婉章，〈明绍弥画莲华大士像〉，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117-118。2.李玉珉，〈明邵弥莲花大士像〉，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198-199。3.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41。 内容简介（中文）： 邵弥（约一五九三－一六四二），长洲（今江苏苏州）人，字僧弥，号瓜畴。诗文、书法、绘画样样精通。莲池上莲花朵朵，大士下颚有胡子，头戴披巾，身穿长衫，荷杖凌波而行。这幅大士的像貌和常见的观音像大不相同，反而好像一个书生。画中观音的五官和手肘都用淡墨细笔钩画，十分细致，可是其他部分则随手写来，潇洒奔放。全作不遵循佛教图像规矩，文人的色彩浓厚，是观音画的另一类型。 内容简介（中文）： 邵弥（约一五九三－一六四二），江苏长洲人，字僧弥，号瓜畴。诗书画并工，善画山水，笔墨雅秀。 邵弥作画逸笔草草，意趣清奇。这幅画一大士经行莲华池面，其容貌衣衫，有若寻常书生，与一般的观音图像大不相同。面目与手部用笔细致，其馀则信手画来，显得衣纹磊落的样子。杖头塑一小佛，很精致，透露了化现者的非凡身份。〔法华经普门品〕中，观音有八难、三十三身各种化身，本幅是「应以居士身得度者，即现居士身而为说法」经文的示现。 内容简介（英文）： The Lotus Bodhisattva Shao Mi (fl. 1593-1642) Ming Dynasty Shao Mi was a native of Ch’ang-chou, Kiangsu. His style name was Seng-mi and his sobriquet was Kua-ch’ou. He was skilled as a poet, calligrapher and painter, and he excelled in landscape painting. His brushwork is elegant and refined. Shao Mi’s paintings were always executed with an extremely free, unrestrained brush and filled with pure and unique concepts. This painting depicts a bodhisattva walking on lotus pond. His face and clothes resemble those of a typical scholar, and this is quite different from most images of Kuan-yin. The brushwork used to depict details of his face and hands is meticulous while other elements are painted freely. The folds of his robes are executed in a particularly unaffected manner. Carved on the staff of the bodhisattva is a tiny buddha, very delicately painted revealing divine qualities. The Samanta-mukha chapter of the Lotus Sūtra describes the 33 manifestations Kuan-yin assumes to save human beings. The image depicted here is an expression of the passage: “If it is necessary to appear in the form of a Buddhist layman (Kulapati), then Kuan-yin will assume the form of a Buddhist layman to expound the Law.” 内容简介（英文）： Kuan-yin of the Lotuses Shao Mi (fl. 1593-1642) Ming Dynasty Shao Mi, a native of Soochow, was gifted at poetry, prose, calligraphy, and painting. On a pond with several lotus blossoms, Kuan-yin is shown here with a beard and a moustache. Walking on the water, he wears a cloth cap and a long robe and carries a figure-tipped cane. The appearance of Kuan-yin differs greatly from that usually associated with the deity, making the figure look more like a scholar. The facial features and hand are rendered in outlines of light ink for an exceptionally fine and delicate look. Other areas, such as the drapery, are rendered more sketchily for a free and loose quality. The unconventional rendering in the form of a scholar provides yet another artistic interpretation of Kuan-yin.