书体:

色彩:

描金

装裱形式:

册(折装)

创作时间:

文字类型:

汉文

质地:

本幅纸

释文:

印记资料:

收传印记：毕沅审定
收传印记：秋颿珍赏

题跋资料:

主题:

技法:

参考资料:

收藏着录： 故宫书画录（卷八），第四册，页168 收藏着录： 故宫书画图录，第二十七册，页364-371 内容简介（中文）： 「善财五十三参」是佛教界家喻户晓的一个修行实例，出自《华严经》入法界品，故事的大意是：印度少年善财在他的家乡福城，听闻了文殊菩萨的说法，发心要修学菩萨道，在文殊的指引下，一路南行，前后历经了一百一十个城市，参（拜见请教）访了五十三位善知识（道行精深的法师），一一向他们求教修行的法门。 善财的参访之旅，起于文殊菩萨的教化开导，文殊在大乘佛法是「智」的象征，意谓求道者要透过智慧产生信解，进而发心修行。善财最后的参访对象是普贤菩萨，普贤在大乘佛法是「行」的象征，意谓最后终于证得圆满普贤行。善财所参访的善知识，虽有菩萨、出家僧尼，却也有男女居士、外道婆罗门、船师、淫女、童子，善财无不合掌顶礼，恭敬请教，意谓求道者要能虚怀若谷，不心存偏见及傲慢，也不以一法一门为自满。 本套册页共二十八开五十六幅，首幅引录复菴和尚〈华严纶贯〉，提纲挈领的说明华严思想及五十三参故事，第二幅为主人翁善财童子法相图，第三幅至五十五幅则一幅一参，以描金技法钩画出五十三参故事，最后一幅恭录〈普贤行愿品〉经文。各画都有南宋的佛国（惟白）禅师所作「文殊指南图」讚颂。所谓「文殊指南」就字面而言，意指善财受文殊「指」引而「南」行求道；慧苑《刊定记》更进而指出，根据西域的训释，「南」在梵文是「右」之意，「右」为「顺」意，故「南行」即为「右行或随顺行」。本次展出前二十九参故事。 内容简介（中文）： 「善财五十三参」出自《华严经》〈入法界品〉。善财因闻文殊说法，发心修学菩萨道，经一百多城，访五十三位善知识，求修行法门。本作五十八幅，首幅录复菴《华严纶贯》，简述华严思想与五十三参故事，各幅录佛国禅师《文殊菩萨指南图讚》。此类图讚曾见宋代版画，但此作样式应是明人手法。《秘殿珠林》录有「宋僧海崙」同题作品，本作旧籤题「日本僧海崙」，画家的确实身分仍待考察。(20120408) 内容简介（英文）： This subject comes from “Entering the Dharma Realm” in Avatamsaka Sutra. Sudhana, hearing the Buddhist teachings, vows to follow the Bodhisattva Path, visiting more than 100 towns and 53 teachers in his quest. The first leaf in this album of 58 works transcribes Fu’an’s Summary of Avatamsaka Sutra, briefly discussing the sutra and Sudhana’s pilgrimages. Each leaf also transcribes Illustrated Eulogies on Manjusri Leading the Way South by the Chan monk Foguo. It appears in Song woodblock prints, but the version here differs and likely reflects Ming methods. The Qing imperial catalogue records a work of the same title by a “Song monk Hailun.” The old title here attributes it to a “Japanese monk Hailun,” whose identity awaits further study.(20120408) 内容简介（英文）： The Fifty-three Pilgrimages of Sudhana The Japanese Monk Hai-lun 19th Century “The Fifty-three Pilgrimages of Sudhana” is a model of Buddhist praxis which was derived from the last chapter, “Entry into the Inconceivable,” of the eighty-chapter version of the Hua-yen Sutra which was translated into Chinese during the T’ang dynasty (618-907). In this text, Sudhana, an Indian youth who lived in wealthy surroundings, heard the teachings of the Bodhisattva Manjusri and decided to dedicate himself to following the path of the bodhisattvas, or enlightened beings who aid others in attaining enlightenment. Under Manjusri’s guidance, he made a pilgrimage south passing through one-hundred-eleven towns and seeking out the advice of fifty-three spiritual guides who were masters of the Buddhist doctrines. One after another, he asked them about the doctrines or wisdom of the Buddha which lead to the door of enlightenment. Because Sudhana’s pilgrimage originated from the teaching of Manjusri who represents wisdom in Mahayana Buddhism, Sudhana had to attain wisdom in order to gain the faith understanding which would lead to enlightenment. When he visited the last spiritual guide, Samantabhadra who aids followers of the doctrine, he attained perfect enlightenment in the path of the bodhisattvas. Although Sudhana visited spiritual guides who were bodhisattvas, monks, and nuns, he also received guidance from lay men and women, Brahmans, a sea captain, a prostitute, and children. No matter what kinds of people the spiritual guides were, Sudhana paid his respects to them and humbly asked for advice. Sudhana’s behavior thus reflects the belief that those dedicated to achieving enlightenment must clear all prejudices from their minds and rid themselves of all arrogant behavior. They must also not rely on one or praxis or method for achieving enlightenment. (下续) 内容简介（英文）： (承上) There are a total of fifty-six paintings in this album. In the first leaf, the artist copied out out the Hua-yen Lun-kuan by the monk Fu-an, a text which outlines the teachings of the Hua-yen sect and the fifty-three encounters with spiritual guides. The second Sudhana met on his pilgrimage, one encounter per leaf. In the last leaf, the artist transcribed “The Chapter of Samantabhadra’s Vows.” In painting the encounters, the artist used gold lines, and each of the paintings bears the gatha or verse “Manjusri Leading the Way South” written by the Southern Sung Ch’an monk Wei-pai. This short gatha signifies Sudhana’s acceptance of Manjusri’s guideance to travel south to seek enlightenment. The monk Hui-yüan in K’an-tingchi further states that the meaning of “south” according to the interpretations of the western regions is actually “right” in Sanskirt, signifying “unhindered.” “Travelling south” in this context thus means “following the path toward enlightenment in an unhindered fashion.” In this exhibition, twenty-nine encounters of Sudhana’s pilgrimage are on display.