书体:

色彩:

设色

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：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

题跋资料:

题跋类别：作者款识；作者：吴彬；题跋位置：本幅；款识：枝隐庵头陀吴彬斋心拜写；书体：行书；全文： 印记：吴彬之印、吴氏文中

主题:

主要主题：佛道人物观音 主要主题：佛道人物善才、龙女善才；其他主题：树木竹竹叶；其他主题：器用 鱼篮；其他主题：器用宗教器用经卷；其他主题：器用服饰（对人）草鞋．耳环；其他主题：水中动植物鱼 

技法:

工笔 写意 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 秘殿珠林续编（干清宫），页157 收藏着录： 故宫书画录（卷八），第四册，页85 收藏着录： 故宫书画图录，第八册，页285-286 参考书目： 1.葛婉章，〈明吴彬画鱼篮观音〉，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118-119。2.李玉珉，〈明吴彬画鱼篮观音〉，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202-203。3.〈明吴彬画鱼篮观音〉，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212。4.葛婉章，〈无缘大悲　观达自在 — 院藏「普门品」观音画探究〉，《故宫文物月刊》，第112期（1992年7月），页41-42。5.陈韵如，《因吴彬佛教人物画风研究》，国立台湾大学艺术史研究所硕士论文，1996年。6.陈韵如；〈明吴彬画鱼篮观音　轴〉，收入何传馨主编，《状奇怪非人间　吴彬的绘画世界》（台北：国立故宫博物院，2012年十月初版），页014-015。 内容简介（中文）： 此轴右下有吴彬款题「枝隐庵头陀吴彬斋心拜写」并钤印。画观音大士手捧经卷，垂发髻、着长袍，额上宝冠可见有化佛一尊。身旁童子手持鱼篮，说明此是融入民间信仰的鱼篮观音形象。然有别于一般女性装扮，画中观音显得更为中性。这与晚明对观音大士无需受限男女之相的论点有关。此轴与〈画佛像〉作风及尺幅相近，或许是成组的制作。(20121018) 内容简介（中文）： 吴彬（活动于一五九一至一六四三年），福建莆田人，流寓南京，明万历年间以书画闻名于世，所绘佛像人物，形状奇特，自成一格。 鱼篮观音的起源有二说：一指唐代居士庞蕴的女儿灵照，乃观音化身，曾卖竹漉离（鱼篮）谋生。另据〔观音感应传〕，唐元和年间，陕西金沙滩有一绝色美女，挈篮卖鱼，要求缔婚者众，女先后以能背诵〔普门品〕、〔金刚经〕、〔法华经〕为条件，后与能诵此三经的马姓青年成婚，过门即死，入冢化去，众人始悟此为观音显现。 内容简介（中文）： 吴彬（活动于一五六八－一六二七），字文中，一作文仲，号质先。福建莆田人，后来迁居金陵（今南京）。擅长画山水、花鸟和佛教人物。画中的鱼篮观音穿着草鞋，手上拿着经卷，身侧的童子手提鱼篮随侍。画中的观音虽然是一位女子，不过脸作椭圆形，浓眉大眼，丝毫没有女性纤秀柔美的特质。祂和童子的身体比例悬殊，人物拉长变形，衣纹线条用浓墨粗笔画成，且多平行的弧线，全作怪异而有趣。 内容简介（英文）： Wu Pin was a native of Fukien who settled in Nanking. He specialized in painting landscapes, birds-and-flowers, and Buddhist and Taoist figures. In this painting of Kuan-yin of the Fish Basket, she wears straw sandals and holds a sūtra scroll as a child attendant stands next to her holding the fish basket. Though Kuan-yin here is supposed to be a young maiden, the heavyset features of the oval face seem to lack the beauty with which she was associated. The disproportionate size between her and the attendant makes her seem unusually large and elongated. The drapery lines are done using coarse strokes with thick ink. Though many of the lines are unnaturalistically curved and parallel, they impart an unusual yet appealing quality. 内容简介（英文）： Wu Pin, a native of P’u-t’ien, Fukien, travelled to various cities in his life and eventually settled in Nanking. During the reign of Wan-li (1573-1620) he became known for his painting. He developed his own style of painting, and depicted religious figures whose forms were eccentric and unconventional. There are two stories concerning the origin of Kuan-yin with a Fishing Basket. One story is of Ling-chao, the daughter of the Buddhist layman Pang Yün of the T’ang dynasty. She made her living selling bamboo fish baskets, and was thought to be a transformation of Kuan-yin. The other story derives from The Stories of Kuan-yin’s Incarnations into the Mundane World. According to this text, a beautiful woman who sold fish lived in Chin-sha-t’an, Shansi during the Yüan-ho reign (706-720) of the T’ang dynasty. She had many suitors, and made memorizing the Samanta-mukha chapter of the Lotus Sūtra, the Diamond Sūtra, and later the entire Lotus Sūtra requirements for her hand in marriage. Eventually, she married a Mr. Ma who was able to recite all three. When she crossed the threshold of the groom’s house, however, she died. After she was buried, she was transformed and ascended to heaven. Thereupon people realized that this was an incarnation of Kuan-yin who taught people the Buddhist canon. 内容简介（英文）： At the lower right of this painting are impressions of seals by Wu Bin and his signature that reads, “Rendered with pure reverence by Wu Bin, [sobriquet] Zhiyin toutuo (Dhuta).” It depicts the bodhisattva Avalokiteshvara (Guanyin) holding a scroll, with long hair tied, and wearing flowing robes. A Buddha is manifested on the forehead headpiece. By the side is a youth holding a fish basket, indicating that this work incorporated the folk tradition of Guanyin with a fish basket. As opposed to a feminine approach to the figure generally seen, this work reveals Guanyin as more gender neutral. This is related to late Ming discourse on Guanyin not being restricted to either male or female form. The size and style of this work are comparable to “Buddhist Figure,” perhaps once having formed part of the same set of paintings.(20121018)