书体:

色彩:

水墨

装裱形式:

轴

创作时间:

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：秘殿新编
鑑藏宝玺：珠林重定
鑑藏宝玺：干清宫鑑藏宝
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：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
收传印记：周祚新印
收传印记：辩利院供养
收传印记：赐书楼

题跋资料:

题跋类别：作者款识；作者：柯九思；题跋位置：本幅；款识：弟子柯九思拜写；书体：行书；全文： 印记：柯九思敬画

题跋类别：题跋；作者：维则；题跋位置：本幅；款识：沙门维则拜书；全文： 柯丹丘墨竹妙天下。其法出于文湖州。而画观世音。则千百中之一也。盖丹丘游戏翰墨。不作行家蹊径。兴来纵笔。固有出于丹铅粉墨之外者。佛不云乎。以法眼观。无俗不真。以世眼观。无真不俗。信然哉。敬为之赞曰。紫竹林中。现童女相。宝珠缨络。龙宫海藏。天人导师。具大慈悲。杨枝净水。供养六时。沙门维则拜书。印记：师林维则

主题:

主要主题：佛道人物观音大士；次要主题：器用服饰（对人） ；次要主题：树木竹 ；其他主题：山水江河、湖海江河

技法:

写意 皴法斧劈皴人物衣纹描法(减笔) 

参考资料:

收藏着录： 秘殿珠林续编（干清宫），页117 收藏着录： 故宫书画录（卷八），第四册，页65 收藏着录： 故宫书画图录，第五册，页39-40 参考书目： 1.葛婉章，〈元柯九思画大士〉，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116。2.李玉珉，〈(传)元柯九思画大士〉，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210-211。 内容简介（中文）： 陡峻的山崖上，有着一丛翠竹，观音菩萨斜倚在巨石上，若有所思地俯视着水面。画家用简单的几笔钩画人物衣纹，用写书法的方法画竹，整幅画作笔墨游戏的成分浓厚。画中观音的形像好像女童一样，应该是受到〈普门品〉内容的启发。画上虽有元代画竹名家柯九思（一三一二—一三六五）的款题，但是无论是画中画竹的方法，或者是款题的书风，都和柯九思不同，应是一件后人冒用他名字的作品。 内容简介（英文）： Kuan-yin sits leaning against a large rock on an overhanging cliff that has a clump of bamboo. She seems to gaze at the reflection of the moon on the surface of the water below. The artist used just a few strokes to outline the drapery and employed calligraphic brushwork to render the bamboo, imparting a playful sense to the brush and ink. Kuan-yin here appears in the image of a girl, probably inspired by the description in "The Kuan-yin Chapter" from the Lotus Sûtra. Although the signature of K'o Chiu-ssu (the famous Yüan bamboo painter) appears along the middle lower right, the style of the bamboo and the signature differ from other examples associated with him. Thus, his signature was added to this later work. 内容简介（英文）： Kuan-yin sits leaning against a large rock on an overhanging cliff with a clump of bamboo. She seems to gaze at the reflection of the moon on the surface of the water below. The artist used just a few strokes to outline the drapery and employed calligraphic brushwork to render the bamboo, imparting a playful sense to the brush and ink. Kuan-yin here appears in the image of a girl, probably inspired by the description in “The Kuan-yin Chapter” from the Lotus Sūtra.Although the signature of K’o Chiu-ssu, a famous bamboo painter of the period, appears along the middle lower right border, the style of the bamboo and the signature differ from other examples associated with him and appear closer to examples from the Ming dynasty. Thus, the signature was probably added by a later hand.