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
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺

题跋资料:

题跋类别：作者款识；作者：项元汴；题跋位置：本幅；款识：檇李弟子项元汴写；书体：篆书；全文： 印记：项元汴印、子京父印

题跋类别：题跋；作者：姜渐；题跋位置：本幅；款识：辛卯奉佛头陀姜渐和南；书体：隶书；全文：咄。善才。你道佛在世间。向世间拜。世间三昧宝。苦海成机械。你道佛在虚空。向虚空拜。虚空且粉碎。木真邻灰败。放开眼孔看三千大千世界。曾何住着容你拜。咄。当关电火难追。休放三种渗漏。你且看白漫漫是眼前光。真消息在耳根上候。辛卯奉佛头陀姜渐和南。印记：物外、姜渐之印

题跋类别：题跋；作者：张凤翼；题跋位置：本幅；款识：张凤翼；书体：行书；全文：影里时闻金口说。空中微见白毫光。张凤翼。印记：凤翼

题跋类别：题跋；作者：项圣谟；题跋位置：本幅；款识：壬辰中秋日拜题；书体：楷书；全文：天童弟子通变天籁阁孙男圣谟。壬辰中秋日拜题。印记：圣谟、孔彰

主题:

主要主题：山水奇石 主要主题：佛道人物善才、龙女善才童子；次要主题：山水云 ；其他主题：山水溪涧、湍泉湍泉；其他主题：山水江河、湖海 ；其他主题：山水瀑布 ；其他主题：树木  ；其他主题：树木寒林．枯树枯树；其他主题：树木松 

技法:

白描 皴法披麻皴人物衣纹描法(匀称线条) 苔点 

参考资料:

收藏着录： 秘殿珠林续编（干清宫），页151 收藏着录： 故宫书画录（卷五），第三册，页426 收藏着录： 故宫书画图录，第八册，页157-158 内容简介（中文）： 项元汴，生于世宗嘉靖四年（西元一五二五），卒于神宗万历十八年（西元一五九○），浙江嘉兴人，字子京，别字墨林居士，为江南大收藏家。精鉴赏，故能画，山水学元黄公望、倪瓒。又写梅，兰，竹石，皆能得其幽情逸致。画善才童子向空顶礼，惟见毫光一道，不见菩萨所在。故本幅虽云画佛，实则仍是山水画格局，此乃缘因元后佛教衰微，佛画与一般人物画无异，多与山水画相配绘制。 内容简介（中文）： 项元汴（西元一五二五－一五九0年）字子京，别字墨林居士，为江南的大收藏家，家藏既多，薰习之久，亦能自运。其山水学元黄公望、倪瓒，尤醉心于倪，得其胜趣。此幅画松石崖瀑，用笔秀劲流畅，构景命意皆静穆之甚。善才童子向空顶礼，取势生动，似见仇英风范。虽云画佛，仍是山水画格局。右下有其孙项圣谟之题识「天童弟子通变天籁阁孙男圣谟。壬辰（一六五二）中秋日拜题」。 内容简介（英文）： Xiang Yuanbian was a major Jiangnan connoisseur who studied painting from his great collection. His landscapes followed Huang Gongwang and Ni Zan’s, as he particularly admired Ni’s and achieved its virtues. Featuring a pine amid crags and a cascade, this work was done in elegantly beautiful and fluent brushwork, the composition also quite solemn and quiet. The boy Sudhana is shown prostrating to the sky in an animated pose, similar to Qiu Ying’s style. Though a Buddhist subject, this is actually more a landscape painting. In the lower right is an inscription by Xiang’s grandson: “I, Grandson Shengmo, the young disciple versed in the Hall of Heavenly Sounds, reverently inscribe this on the Mid-Autumn day of the renchen year (1652).” 内容简介（英文）： Hsiang Yüan-pien was a native of Chia-hsing. His tzu (style name) was Tzu-ching; his hao (sobriquet) was Mo-lin chu-shih. A discerning connoisseur and collector, Hsiang Yüan-pien was fond of painting. His landscapes were modelled after the Yüan masters Huang Kung-wang and Ni Tsan. He also turned his hand to painting plum blossoms, orchids, bamboo and rocks, capturing their retiring, unaggressive beauty.The title of this painting refers to Sudhana prostrating himself towards the sky. However, the Bodhisattva himself is hidden amid a dazzling ray of light. Thus, although the painting is said to be of a Buddhist nature, it more properly belongs to pure landscape. The reason for this is that, from the Yüan dynasty onwards, Buddhism had lost much of its vitality in China. Buddhist painting became to resemble more and more ordinary figure painting, and many works were no different from ordinary landscapes.