【作品基本信息】
| 作者 | 郑重 |
| 品名 | 画释迦牟尼佛图轴 |
| 朝代 | 明朝 |
| 文件大小 | 18.03MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 1473×4081 |
| 尺寸（CM） | 12.47×34.55 |
| 作品数量 | 1 |
| 作品收藏 | 台北故宫博物院 |
| 图片格式 | 默认提供TIF和JPG两个版本 |
基本数据
| 藏品类型 | 绘画 |
| 品名 | 明郑重画释迦牟尼佛 轴 Sakyamuni Buddha |
| 分类 | 绘画 |
| 作者 | 郑重 |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 191.9×81.5 |
| 诗塘 | 40.6×81.5 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 绢 |
| 诗塘 | 纸 |
题跋资料【题跋类别】【作者】【位置】【款识】【书体】【全文】作者款识郑重本幅法王子郑重敬画篆书
印记：
重生题跋清高宗诗塘壬午（公元一七六二年）春正月。御赞。行书天上天下。独立称尊。水月道场。现此金身。三十二相。八十种好。日是庄严。见为颠倒。维摩天花，尚云弗若。何佛光中。曼陀纷落。九华芝盖。七宝莲台。三车法演。五叶宗开。即有即空。非空非有。众生度尽。宴坐义手。壬午（公元一七六二年）春正月。御赞。印记：
欢喜园、乾隆宸翰
印记资料
| 【印记类别】 | 【印记】 |
| 鉴藏宝玺 | 乾隆御览之宝 |
| 鉴藏宝玺 | 宣统御览之宝 |
| 鉴藏宝玺 | 无逸斋精鉴玺 |
| 鉴藏宝玺 | 宣统鉴赏 |
| 鉴藏宝玺 | 珠林三编 |
| 鉴藏宝玺 | 乾隆鉴赏 |
| 鉴藏宝玺 | 嘉庆御览之宝 |
| 鉴藏宝玺 | 嘉庆鉴赏 |
| 鉴藏宝玺 | 秘殿珠林 |
| 鉴藏宝玺 | 三希堂精鉴玺 |
| 鉴藏宝玺 | 宜子孙 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 次要主题 | 山水 | 云 | |
| 主要主题 | 佛道人物 | 佛 | |
| 次要主题 | 花草 | 莲荷 | |
| 主要主题 | 器用 | 宗教器用 | 璎珞．莲台．宝盖．珊瑚．背光 |
技法
| 【技法】 | 【技法细目】 |
| 工笔 | |
| 人物衣纹描法(匀称线条) |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 秘殿珠林三编（干清宫），页74 |
| 收藏着录 | 故宫书画录（卷五），第三册，页474 |
| 收藏着录 | 故宫书画图录，第九册，页191-192 |
| 内容简介（中文） | 郑重（十七世纪），字千里，号无着，歙（今安徽歙县）人，流寓金陵（今南京）。好楼居，日事香茗。善写佛像，必斋沐而后举笔。丁云鹏推为赵伯驹后身，亦画山水小景。摹仿宋、元体均精妍。 本幅画祥云拥现，天散宝华，释迦牟尼佛法相庄严，手结定印，于一莲花座上结跏趺坐，座下尚有一华丽的须弥宝台。人物肌肤以金粉填涂，全幅设色妍丽。袈裟与台座之纹饰绘制精工。画幅右下角有作者篆书款云：法王子郑重敬画。 |
| 内容简介（英文） | Cheng Chung (style name Ch’ien-li, sobriquet Wu-cho) was originally from Hsi County, located in today’s Anhui Province, but later moved to Nanking. He was fond of living in the upper stories of buildings, and it was his habit to drink fragrant tea each day. Cheng Chung was skilled in the renditions of Buddhist images, and always fasted and bathed to purify himself before taking up his brush. Ting Yun-p’eng praised him as being the reincarnation of Chao Po-chu. He also painted small landscape scenes. And his copies of Sung and Yuan works were done in an exquisite manner. Amidst clouds of blessing and heavenly splendor, Śâkyamuni Buddha, Lord of the Law, appears most dignified. His hands are folded in a gesture of meditation, and he is seated cross-legged on a lotus throne, beneath which is a resplendant representation of Mount Sumeru. The skin and flesh of Śâkyamuni are depicted in gold pigment, and the entire work is colored magnificently. The brushwork describing the cassock and the lotus throne is of refined workmanship. In the lower right corner of the painting, the artist’s inscription reeds: Respectfully painted by Cheng Chung, Disciple of the Lord of the Law. |
【作品展示】
