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：秘殿珠林
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
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：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
鑑藏宝玺：宣统鉴赏
鑑藏宝玺：无逸斋精鉴玺

题跋资料:

题跋类别：作者款识；作者：丁云鹏；题跋位置：本幅；款识：佛子丁云鹏敬写；书体：行书；全文： 印记：丁云鹏印、南羽氏、逍遥游

题跋类别：题跋；作者：汪道贯；题跋位置：本幅；款识：禅居士汪道贯书；全文：；书体：行书；全文：释迦牟尼佛偈。法本法无法。无法法亦法。今付无法时。法法何曾法。禅居士汪道贯书。印记：仲淹

题跋类别：题跋；作者：邹之麟；题跋位置：本幅；款识：无；；书体：行楷书；全文：世尊四十九年说法。无非对病设药。此真大医王也。文殊就地拈一茎草。度与弟子曰。你看那一味不是药。然此药能生人。亦能杀人。此真大药师也。佛与菩萨。究竟不外自度度人。印记：臣虎、邹之麟印

主题:

主要主题：佛道人物佛 ；其他主题：树木  ；其他主题：花草  

技法:

白描 写意 皴法斧劈皴人物衣纹描法(匀称线条) 苔点 

参考资料:

收藏着录： 秘殿珠林续编（干清宫），页163 收藏着录： 故宫书画录（卷五），第三册，页454-455 收藏着录： 故宫书画图录，第八册，页347-348 参考书目： 1.〈明丁云鹏画释迦牟尼佛〉，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102。2.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）： 丁云鹏（约西元十六世纪末期至十七世纪初期），安徽休宁人，字南羽，号圣华居士。善画佛道人物。画法学唐吴道子，又白描法学北宋李公麟，用笔勾勒，线细如发丝，而眉睫间，尚能意态毕具。 本幅画释迦牟尼坐树下，容貌端静，宛若入定。通幅全用墨笔勾染，不着颜色。予人有真幻两忘，神入华严净土之感。 内容简介（中文）： 此帧画法相庄严的释迦牟尼佛，其双手结禅定印，结跏趺坐于娑罗树下。通幅全用墨笔钩染，不着颜色。人物衣纹线条圆润流畅，释迦牟尼佛身后的老树盘结，树叶或以墨点，或用钩勒，墨色虽有深浅的变化，但已具装饰性。全作笔法生动而富变化，别有一种古拙浑厚的意趣。此帧款云：「佛子丁云鹏敬写」，但未署年款。根据它的画风特色与幅上两则邹之麟的题识，推测此画当成于1606年以后，约为丁氏六十馀岁之作。(20120715) 内容简介（英文）： This painting is a majestic portrayal of the Shakyamuni Buddha sitting cross-legged under a sala tree with his hands in the gesture of meditation. The work features lines and washes of monochrome ink devoid of any colors. The drapery lines of the figure are round and flowing, the gnarled tree behind Shakyamuni having leaves done with dots and outlines. There is variation in the darkness of the ink tones, but they are also somewhat decorative in quality. The brushwork throughout is vivid and varied with a strong element of archaism. The signature on this work reads, “Reverently painted by the Buddhist disciple Ding Yunpeng,” but does not include a date. The stylistic features and two inscriptions by Zou Zhilin, however, suggest it was painted after 1606, sometime after Ding Yunpeng was about sixty.(20120715) 内容简介（英文）： Ting Yun-p'eng was a native of Hsiu-ning, Anhwei province. His tzu (style name) was Nan-yü and his hao (sobriquet) was Sheng-hua Chü-shih. He excelled at painting Buddhist and Taoist figures, deriving his style from the T'ang master Wu Tao-tzu and his technique of outline drawing from Li Kung-lin. It is said that he drew lines so thin that they were like silken filaments and that he did not miss a single hair from the eye-lashes and eye-brows. This painting shows Śākyamuni, the historical Buddha, under a tree. His features are composed as if in a trance. Brushwork and ink consist of short, curving strokes and there is no colour. Looking at the picture, we experience the feeling that it is hard to say whether the Buddha is real or painted. We are transported into the serenity of the pure land of Hua-yen.