书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

清圣祖康熙五十二年（1713）

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：陈书；题跋位置：本幅；款识：上元弟子陈书。仿左门孙山人笔法。敬画普门大士出海像。时康熙五十二年（西元一七一三年）仲春三日。；书体：楷书；全文： 印记：陈、书

题跋类别：题跋；作者：钱陈群；题跋位置：本幅；款识：敬题臣母陈书所画出海观音像。臣钱陈群恭进。时年八十有六。；书体：行楷书；全文：万里波涛万里平。万年自在万年清。十方善信同瞻仰。无缝天衣一笔成。敬题臣母陈书所画出海观音像。臣钱陈群恭进。时年八十有六。印记：宫博尚书、臣钱陈群

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：癸巳仲春月御题；书体：行书；全文：（乾隆癸巳御题。诗文不录。）印记：几暇怡情、得佳趣

主题:

主要主题：佛道人物观音 ；其他主题：器用家俱（屏风）草垫；其他主题：器用服饰（对人）化佛冠；其他主题：树木竹 ；其他主题：器用宗教器用水林、柳枝；其他主题：山水江河、湖海湖海；其他主题：器用饮食器杯

技法:

工笔 写意 皴法斧劈皴人物衣纹描法(匀称线条) 苔点 

参考资料:

收藏着录： 秘殿珠林续编（干清宫），页320 收藏着录： 故宫书画录（卷五），第三册，页550 收藏着录： 故宫书画图录，第十一册，页189-190 参考书目： 1.葛婉章，〈清陈书画出海大士像〉，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121。2.李玉珉，〈清陈书出海大士像〉，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215。3.冯明珠，〈陈书出海大士像〉，收入冯明珠主编，《乾隆皇帝的文化事业》（台北：国立故宫博物院，2002年初版一刷），页84。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43。 内容简介（中文）： 陈书（西元一六六０－一七三六年），秀水（浙江嘉兴）人。号上元弟子、南楼老人，适钱纶光，后以长子钱陈群仕贵，诰封太淑人。山水、人物、花鸟草虫，无不擅长。 本幅画观音坐岩石观海，取﹝普门品﹞中「听观音行，善应诸方所，弘誓深如海，历劫不思议」之意。用笔清隽，墨色醇老，敷色淡雅，秀雅中饶有劲力，不似一般闺阁画之文弱，画时年五十三岁。 内容简介（中文）： 陈书（一六六０－一七三六），字南楼，号上元弟子、南楼老人。秀水（今浙江嘉兴）人，是清代刑部侍郎钱陈群的母亲。精通画花鸟、草虫、山水和人物画。这是陈书五十三岁的画作。观音菩萨披着白色的头巾，穿着白色的大袍，右手拿着杨柳，很舒适地坐在岸边的一块大石头上。这件作品的人物秀美，衣纹紧密，线条流畅，画石头的笔触挥洒，好似斧劈一般，繁简互相辉映，产生有趣的视觉效果。 内容简介（英文）： Ch’en Shu, a native of Chekiang, was the mother of Ch’ien Ch’en-ch’un, a high official under the Ch’ien-lung Emperor (r.1736-1795). She was gifted at painting birds-and-flowers, insects-and-grasses, landscapes, and figures. This work was painted by Ch’en Shu at the age of 53. The White-robed Kuan-yin also wears a white cloth on her head. She holds a willow branch in her right hand as she sits leisurely on a rocky outcropping by the sea. The elegant features of the figure are complemented by the dense flowing drapery lines. The rich and angular texturing of the rocks looks like “axe-cut” strokes. The contrast between the delicate drapery and rough rocks thus create an interesting visual effect. 内容简介（英文）： Chen Shu, style name Nan-lou and sobriquet Shang-yüan ti-tzu, was a native of Chia-hsing, Chekiang. Specializing in bird-and-flower painting and also gifted at landscape and figures, she was rare among Ch'ing dynasty female painters for being talented in so many subjects. Ch'en Shu's son Ch'ien Ch'en-ch'ün (1686-1774) served at court and presented this work of the bodhisattva Kuan-yin for imperial viewing. As a result, in addition to the artist's seal and signature, here is also the seal and signature of Ch'ien Ch'en-ch'ün. Ch'ien, following convention, added the character “ch'en 臣” before the signature to identify him as a subject of the court. Also appearing are two seals reading Kung-po shang-shu and Ch'en Ch'ien Ch'en-ch'ün. 内容简介（英文）： Ch’en Shu was the mother of Ch’ien Ch’en-ch’un who served as high official under the Ch’ien-lung Emperor. Due to his eminent position, she was awarded the title of T’ai-shu-jen. She excelled at landscape, figure, and bird-and-flower painting. This work represents Kuan-yin sitting on a rocky cliff gazing over the sea. A passage from the Samanta-mukha section of the Lotus Sūtra states, “Hearing of Kuan-yin’s conduct, virtue reaches all. Moved to pledge an oath as deep as the sea, every difficulty is endured.” The brushwork here is pure and extraordinary, the coloring gentle and elegant. The refinement conceals a tensile force that differs from the style normally associated with women painters. This was done by Ch’en at the age of 53.