书体:

色彩:

装裱形式:

册(折装‧方幅式)

创作时间:

明神宗万历六年（1578）

文字类型:

质地:

本幅纸后副叶纸

释文:

印记资料:

收传印记：元庆珍藏（重十六）
收传印记：人间无此青（重十六）

题跋资料:

题跋类别：题跋；作者：王穉登后副叶一、二戊寅（西元一五七八年）五月廿九日弟子王禾?繺R登斋祆谨题；书体：行楷书；全文：十六应真像。自龙眠居士而后。作者无虑数家。独赵荣禄最为妙绝。能具种种变相。其超处深得三昧。遂将轶公麟而上矣。此卷丁山人南羽为青莲居士顾仲修作。毫丹缕碧。能于芥子微尘中。纳尽须弥世界。可谓不遗馀力。贯休辈笔法犇放。虽复擅名千古。大都散僧入圣。终是小乘谛中义。覩山人此作。便觉时无英雄耳。仲修请龛之净室。焚白旃檀作礼。异时福田无量。维摩室中。当有释帝抱天上玉麒麟赠之。丁君虽毫端小果。何减阿育八万四千舍利塔耶。（以下第二幅）戊寅（西元一五七八年）五月廿九日弟子王稺登斋祆谨题。印记：登、王仲印

题跋类别：题跋；作者：陈继儒后副叶二泰昌十二月十六日陈继儒得观于东郛草堂；书体：行书；全文：吾朝仇实父人物。超入精能。若写佛菩萨。位置境界。须让此老一筹。盖此老本之六朝唐宋。绝无毫许人间像耳。此十六应真为仲脩顾公写。尤其殉知之笔。原之于收藏赏鉴外。复能手摹。不爽毫发。顾氏虎头真有种也。泰昌十二月十六日陈继儒得观于东郛草堂。印记：眉公、腐儒

主题:

技法:

参考资料:

收藏着录： 故宫书画录（卷六），第四册，页100-101 收藏着录： 故宫书画图录，第二十三册，页42-47 参考书目： 1.李玉珉，〈明丁云图罗汉〉，收入李玉珉主编，《罗汉画》（台北：国立故宫博物院，1990年初版），页80-81。2.〈明丁云图罗汉〉，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52-53。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）： 此册前十六幅设色绘罗汉，末幅白描画韦驮。罗汉画的傅色明丽，绘制精谨，人物衣纹线条细若游丝，笔笔遒劲有力。人物身后的山水背景、画树点叶的方式，均流露出浓厚的吴派风韵。今选十五幅展出。据末幅款识，此册乃万历丁丑至戊寅（1577-1578）丁云图所为。丁云图画史未载，但此作的构图、笔墨和设色皆与丁云鹏早年画风相似，且作者钤印中又发现「文举之印」一印，后副叶王穉登的题跋亦称此乃「丁山人南羽为青莲居士顾仲修作」，故今归于丁云鹏名下。(20120715) 内容简介（中文）： 丁云图，生平不详，但观其作品无论构图、笔墨皆与丁云鹏（西元一五四七或一五四八年生，一六二八尚在）早年画风相似，故疑为同一人。 此册人物线描如行云流水，造形则作变形处理。笔法纤细，布局工整，设色淡雅，兼用青绿，颇有吴派风韵。后陈继儒跋赞誉丁氏此册人物超入精能，不让仇英专美。自题此作于丁丑至戊寅图成，故知本幅画于西元一五七七至一五七八年之间。 内容简介（英文）： Ting Yün-t’u’s birth and death dates remain unknown. Nevertheless, the composition and use of the brush and ink in his paintings all resemble the early style of Ting Yün-p’eng (1547 or 1584-after 1628). Thus, these two figures may be one in the same person. In the album, the outlines of the human figures are done in the pai-miao (plain-line) manner and appear like ˝running clouds˝ and ˝flowing water, ˝ resulting in numerous variations among the figures. The brushwork is fine and delicate, and the layout and coloring are light and elegant. Due to the use of blue-green, the coloring of this painting is similar to that of Wu School works. Ch’en Chi-ju (1558-1639), in his colophon, praises Ting’s mastery of brush and ink in representing figures, which he felt were not inferior to those of Ch’iu Ying (ca. 1494-1552). 内容简介（英文）： The first sixteen leaves in this album depict lohans in color, the last leaf portraying the guardian Skanda in monochrome ink. The coloring of the lohan paintings is bright and the rendering carefully done. The figures’ drapery lines are as fine as silk, each stroke powerful and vigorous. The landscape backgrounds for the figures along with the trees and leaves all reveal strong traces of the Wu School style of painting. Fifteen leaves have been chosen for this exhibit.Judging from the signature on the last leaf, this album apparently was done between 1577 and 1578 by Ding Yuntu, who is not mentioned in painting histories. However, the compositions, use of brush and ink, and coloring here are all similar to the early style of Ding Yunpeng. Moreover, among the seals here is one that reads “Seal of Wenju,” referring to a style name used by Ding Yunpeng. Furthermore, the colophon on the endleaf by Wang Zhideng states that this work “was done by Ding Shanren, Nanyu, for Gu Zhongxiu, Qinglian jushi,” Nanyu being another style name of Ding Yunpeng. Thus, this album should be ascribed to Ding Yunpeng instead.(20120715)