书体:

色彩:

水墨

装裱形式:

卷

创作时间:

明神宗万历十一年（1583）

文字类型:

汉文

质地:

本幅纸

释文:

印记资料:

题跋资料:

题跋类别：作者款识；作者：吴彬；题跋位置：本幅；款识：癸未（西元一五八三年）初秋长洲吴彬图于金陵客舍。；书体：行书；全文： 印记：吴彬之印、文中

主题:

主要主题：佛道人物罗汉（应真、尊者）罗汉；次要主题：佛道人物佛道侍者 ；其他主题：水中动植物虾 ；其他主题：水中动植物鱼 ；其他主题：走兽马 ；其他主题：人物孩童 ；其他主题：翎毛鹤 ；其他主题：山水云 ；其他主题：花草莲荷荷叶与花瓣；其他主题：走兽龟龟壳；其他主题：器用文房用具笔；其他主题：果蔬桃子 ；其他主题：走兽 麒麟；其他主题：山水江河、湖海湖海；其他主题：器用仪仗（佛教宝盖）宝盖；其他主题：水中动植物蚧蛤．蛎房蛎房；其他主题：走兽虎 ；其他主题：走兽龙 ；其他主题：树木寒林．枯树枯槎；其他主题：水中动植物蟹 ；其他主题：器用宗教器用锡杖、念珠、贝叶、尘、经卷

技法:

白描 人物衣纹描法(匀称线条) 人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 故宫书画录（卷四），第二册，页235 收藏着录： 故宫书画图录，第十九册，页355-358 参考书目： 1.李玉珉，〈明吴彬画十八应真〉，收入李玉珉主编，《罗汉画》（台北：国立故宫博物院，1990年初版），页79。2.〈明吴彬画十八应真〉，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274。3.陈韵如；〈（传）明吴彬画十八应真〉，收入何传馨主编，《状奇怪非人间　吴彬的绘画世界》（台北：国立故宫博物院，2012年十月初版），页172-175。 内容简介（中文）： 吴彬（活动于西元一五六八至一六二七年），字文中，又字文仲，自称枝菴发僧，福建莆田人。万历间，以书画擅名。工佛像人物，形状奇怪，迥异前人，自立门户，别具风格。 本幅白描画降龙、伏虎等十八罗汉，于水上各显神通，点缀以孩童、侍者、虾蟹、蛟犀、龙虎等。此帧用笔清劲秀雅，方笔独多。人物姿态千变万化，神情栩栩如生。根据幅上题款，此作成于崇祯癸未（西元一六四三）年。 内容简介（中文）： 此为白描罗汉图，画罗汉各显神通力渡海场面。此类渡海罗汉在明代十分流行，丁云鹏名下也有此类画卷。此卷中罗汉脸相与吴彬画法不同，学者指出与加拿大所藏作品相近，据款题记年为万历十一年（1583），推测或许与吴彬早期画风有关。然从款书判断，应非吴彬真蹟。惟从罗汉造型来看，仍可见晚明佛教人物画风面貌。(20121018) 内容简介（英文）： This painting of lohans (arhats) in fine-line monochrome ink (“baimiao”) depicts these figures with various powers crossing the sea. This type of lohan-crossing-the-sea imagery was very popular in the Ming dynasty, with a handscroll similar to this under Ding Yunpeng’s name. The faces of the lohans in this handscroll, however, differ from the painting style of Wu Bin. Scholars have pointed out that they are similar to a work in a Canadian collection. Judging from the signature giving a date equivalent to 1583, perhaps this is related to an early style of Wu Bin. However, based on the style of the signature, it is probably not an authentic work by him. theless, from the form of the lohans, we can still see the style of late Ming Buddhist figure painting.(20121018) 内容简介（英文）： Wu Pin (style names; Wen-chung and Wen-chung) called himself Chih-an fa-seng (The Untonsured Monk of Chih-an) and was a native of P’u-t’ien, Fukien. He excelled at both painting and calligraphy and achieved fame during the Wan-li era (1573-1620). He was good at painting Buddhist figures, the forms of which are often bizarre and completely different from those of previous painters. He consequently established his own style. This painting in the pai-miao (plain-line) manner includes depictions of the eighteen lohans, such as the Subduing-dragon and Prostrate-tiger, who appear in various manifestations of their supernatural powers on the water. Embellishments to the painting include representations of a shrimp, crab, chiao-dragon, hsi-rhinoceros, dragon, tiger, and several children and attendants. The brushwork in this painting is pure, strong, and elegant, with angular brushstrokes being particularly numerous. The various postures of the figures make them feel active and come to life. According to the inscription, this painting was done in 1643.