【作品基本信息】
| 作者 | 张宏 |
| 品名 | 画布袋罗汉图轴 |
| 朝代 | 明朝 |
| 文件大小 | 18.04MB |
| 分辨率（DPI） | 300×300 |
| 像素大小 | 1774×3390 |
| 尺寸（CM） | 15.01×28.7 |
| 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 | 明张宏画布袋罗汉 轴 The Monk Pu-tai |
| 分类 | 绘画 |
| 作者 | 张宏 |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 60×30.3 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 纸 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 作者款识 | 张宏 | 本幅 | 张宏 | 草书 | |
| 印记： 鹤涧 |
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| 题跋 | 王穉登 | 本幅 | 手里鏖糟一布囊。山河世界此中藏。谁知万劫都成幻。却笑世人因甚忙。王穉登题。 | 草书 | |
| 印记： 穉、登 |
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印记资料
| 【印记类别】 | 【印记】 |
| 鉴藏宝玺 | 乾隆御览之宝 |
| 鉴藏宝玺 | 太上皇帝 |
| 鉴藏宝玺 | 嘉庆御览之宝 |
| 鉴藏宝玺 | 宣统御览之宝 |
| 鉴藏宝玺 | 乾隆鉴赏 |
| 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 |
| 鉴藏宝玺 | 秘殿新编 |
| 鉴藏宝玺 | 珠林复位 |
| 鉴藏宝玺 | 干清宫鉴藏宝 |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 其他主题 | 器用 | 宗教器用 | 念珠．手杖．布袋 |
| 主要主题 | 佛道人物 | 僧（和尚、尼姑） | 布袋和尚 |
技法
| 【技法】 | 【技法细目】 |
| 写意 | |
| 人物衣纹描法(减笔) |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 秘殿珠林续编（干清宫），页316 |
| 收藏着录 | 故宫书画录（卷五），第三册，页473 |
| 收藏着录 | 故宫书画图录，第九册，页5-6 |
| 内容简介（中文） | 张宏（公元一五七七－一六六八年以后），江苏吴郡人。字君度，号鹤涧。工画山水，右善写意人物，笔墨古拙湿润。 案布袋和尚原为五代后梁时，明州（今浙江）奉化和尚，又号长汀子。身材矮胖，蹙额鼓腹，出言语无伦次，常以杖荷一布袋入市肆，见物即乞。后遇保福和尚渡化，贞元三年，端坐岳林寺盘石入灭。后现身于别州，背负布袋而行，因而得名。 |
| 内容简介（英文） | Chang Hung was a native of Kiangsu. His style name was Chun-tu; his sobriquet was Ho-chien. An able landscapist, he also painted expressionistic portraits. His brush work is antique and unstudied; his use of ink is rich and moist. Pu-tai, otherwise called Ch’ang-t’ing-tzu, lived in the 10th century in Chekiang province. He was corpulent, had a wrinkled brow, and a massive belly. His speech was utterly eccentric and, when he went to market, he carried a cloth-bag on a pole over his shoulder, stopping the rich to ask for alms. Later he met the monk Pao-fu and received spiritual instruction from him. While sitting on a rock in Yueh-lin temple, he died and entered Nirvana. From that time onward he made many appearances throughout China. He was always seen as carrying a cloth bag (pu-tai) slung over his back. This is the origin of his name. |
| 内容简介（中文） | 布袋和尚原为五代人。身材矮胖，蹙额鼓腹，常以杖荷一布袋入市肆，见物即乞求，口中常念着「弥勒真弥勒」之偈。渡化入灭后又现身他处，背负布袋而行，民众便认定他是弥勒化身。 《西游记》第六十五、六十六回称弥勒佛门下的司磬黄眉童子偷了师父的法宝布袋下凡作恶，作战时把布袋一抛，敌人马上全体被收入袋中。孙悟空后来请得弥勒亲临，才施法擒住徒儿。 |
| 内容简介（英文） | The monk Cloth Sack (Pu-tai), of the Five Dynasties period, was short and fat, with a deep brow and round belly. He carried his belongings in a cloth sack tied to a cane, hence his name. When begging, he would mutter “Maitreya, True Maitreya”. After passing away, he was reincarnated with his cloth sack. He was felt to be an incarnation of Maitreya, thus the many images of him in Chekiang and Kiangsu. In chapters 65 and 66 of Journey to the West, the child Yellow Brow, attendant of the Maitreya Buddha, stole the Master’s cloth sack of treasures to the mortal realm to wreak havoc. Flinging the sack in battle, the opponent would be engulfed at once. The Monkey King begged Maitreya, who then used magic powers and catch this attendant. |
| 网页展示说明 | 布袋和尚原为五代人。身材矮胖，蹙额鼓腹，常以杖荷一布袋入市肆，见物即乞求，口中常念着「弥勒真弥勒」之偈。渡化入灭后又现身于他处，背负布袋而行，民众便认定他是弥勒化身，因而江浙间「多画其像」。 《西游记》第六十五、六十六回称弥勒佛门下的司磬黄眉童子偷了师父的法宝布袋下凡作恶，作战时把布袋一抛，敌人马上全体被收入袋中。孙悟空后来请得弥勒亲临，始施法擒住徒儿。 而书中描写弥勒的样子为： 「大耳横颐方面相，肩查腹满身躯胖，一腔春意喜盈盈，两眼秋波光荡荡。蔽袖飘然福气多，芒鞋泗落精神壮，极乐场中第一尊，南无弥勒笑和尚。」这正是我们从此画所见到笑弥勒的样子。 |
| 网页展示说明 | The monk Cloth Sack (Pu-tai), of the Five Dynasties period, was said to be short and fat, having a deep brow and round belly. He carried his belongings in a cloth sack tied to a cane, hence his name. When begging, he would mutter “Maitreya, True Maitreya”. After passing away, he was reincarnated with his cloth sack. He was felt to be an incarnation of Maitreya, thus the many images of him in Chekiang and Kiangsu. In chapters 65 and 66 of Journey to the West, the attendant Yellow Brow, said to be a disciple of the Maitreya Buddha, stole the Master’s cloth sack of treasures and descended to the mortal realm to wreak havoc. Flinging the sack in battle, the opponent would be engulfed at once. The Monkey King begged Maitreya, who used his powers to capture the mischievous attendant. In the novel, Maitreya is described as follows: “With a wide visage of large ears and broad cheeks, the whole of his body from shoulders to belly is corpulent. He, like the New Year, is overflowing with merry, eyes beautifully bright and vast. He, covered in flowing sleeves of gracious good fortune, has a robust spirit spreading far and wide. He, the foremost Buddha in the land of Paradise, is the laughing Buddhist monk Maitreya.” This is exactly the laughing appearance of Maitreya that we see in this painting. |
【作品展示】
