书体:

色彩:

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

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：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：珠林三编
鑑藏宝玺：宣统御览之宝

题跋资料:

主题:

主要主题：佛道人物佛释迦牟尼佛　；次要主题：佛道人物佛道侍者摩诃迦叶、阿难；其他主题：器用仪仗（佛教宝盖）佛教宝盖；其他主题：山水云 ；其他主题：器用宗教器用莲台；其他主题：花草莲荷 

技法:

绣 

参考资料:

收藏着录： 国立故宫博物院刺绣，黑白图版98 收藏着录： 刺绣特展图录，页80-83、133 内容简介（中文）： 五彩绣。佛教创始者释迦牟尼，双目微阖，神态和煦，手结说法印记，端作莲华高坛上，五色祥云缭绕四周，顶上华盖缨络庄严。坛前释尊的两大弟子，年龄稍长，以头陀（苦行）闻名的摩诃迦叶；以及多闻利智，品貌出众的阿难，竖立两侧。通幅满绣填地，视图案所需运用长短针法，横直等距针法，或参差交替针法，或平绣或盘缠。其轮廓处或留白或以彩线钩勒。绣线亦视图案所需，臂线有极细，有粗松。设色、技法、针线之使用，千变万化。 内容简介（中文）： 佛教创始者释迦牟尼，双目微阖，神态和煦，手结说法印记，端坐莲华高坛上，五色祥云缭绕四周，顶上华盖缨络庄严。坛前释尊的两大弟子，年龄稍长，以头陀（苦行）闻名的摩诃迦叶；以及多闻利智，品貌出众的阿难，肃立两侧。 通幅满绣填地，视图案所需或平绣或盘绣。绣线亦视图案所需，劈线有极细，有粗松。设色、技法、针线之使用，千变万化。 内容简介（英文）： Shâkyamuni, the founder of Buddhism, is shown here with semi-closed eyes as if in a serene state of bliss. He holds his right hand in the symbol of preaching and sits on a high lotus pedestal encircled by auspicious clouds tinged with various colors. Above is a canopy of jewels below a cloud. The two great disciples of Shâkyamuni appear in front. The older figure on the right is Mahâkâśyapa, while the other is Ānanda. They appear in reverence before the viewer. The composition here almost fills the entire scroll. Various techniques were used according to the motifs represented. There is a great deal of variety in the detail of the needlework, as well as in the coloring and techniques. 网页展示说明 佛教始祖释迦牟尼佛，双目微阖，手结说法印记，神态和煦，端坐于莲花高台之上，五彩祥云四周缭绕，顶上华盖缨络庄严。坛前释尊的两大弟子肃立两侧，年龄稍长，以头陀（苦行）闻名的是摩诃迦叶。年轻品貌出众且多闻利智的是阿难。 是幅刺绣，以五彩绣线，通幅满绣填地，不见空白留底，是其最大特色。运用各种不同色线，按图运针，视图案所需，绣线有劈线极细的，亦有粗松的。再以长短针法，横直等距针法，或参差交替针法，或平绣或盘绣，逐步完成全部图样。全幅色彩明亮艳丽，但艳而不俗，技法精工，是清绣中之佳作。是轴原品名为本院所藏清绣佛像十三轴之一。 网页展示说明 Shakyamuni, the founder of Buddhism, is shown here with semi-closed eyes as if in a serene state of bliss. He holds his right hand in the symbol of preaching and sits on a high lotus pedestal encircled by auspicious clouds tinged with various colors. Above is a canopy of jewels below a cloud. The two great disciples of Shakyamuni appear in front. The older figure on the right is Mahakasyapa, while the other is Ananda. They appear in reverence before the viewer. The composition here almost fills the entire scroll. Various techniques were used according to the motifs represented. There is a great deal of variety in the detail of the needlework, as well as in the coloring and techniques.