【国画基本信息】
| 品名 | 宋人画达摩像图轴 |
| 朝代 | 宋代 |
| 文件大小 | 18.03MB |
| 分辨率 | 300x300 |
| 像素大小 | 1815x3313 |
| 尺寸（CM） | 15.36x28.05 |
| 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 | 宋人画达摩像 轴 Bodhidharma |
| 分类 | 绘画 |
| 数量 | 一轴 |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 109.1x56.5 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 绢 |
题跋数据
| 【题跋类别】 | 【作者】 | 【位置】 | 【款识】 | 【书体】 | 【全文】 |
| 题跋 | 清高宗 | 本幅 | 壬辰仲冬月御赞 | 行书 | 直指上乘。不屑声闻。未契梁武。彼何足云。渡苇已毕。藉草以坐。廓然无圣。亦复无我。食罢洗钵。袖手而咍。一花五叶。滥矣纷哉。壬辰仲冬月御赞。 |
| 印记： 干、隆 | |||||
| 【印记类别】 | 【印记】 |
| 鉴藏宝玺 | 乾隆御览之宝 |
| 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 |
| 鉴藏宝玺 | 太上皇帝之宝 |
| 鉴藏宝玺 | 嘉庆御览之宝 |
| 鉴藏宝玺 | 宣统御览之宝 |
| 收传印记 | （二印漫漶不识） |
主题
| 【主题类别】 | 【主题(第一层)】 | 【主题(第二层)】 | 【主题说明】 |
| 主要主题 | 佛道人物 | 僧（和尚、尼姑） | 达摩 |
技法
| 【技法】 | 【技法细目】 |
| 工笔 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 秘殿珠林续编（清干宫），页101 |
| 收藏着录 | 故宫书画录（卷五），第三册，页128 |
| 收藏着录 | 故宫书画图录，第三册，页27-28 |
| 内容简介（中文） | 达摩本名菩提多罗，梁普通元年（公元五二O）由海路来广州。不久，梁武帝便迎接他到建业（今南京）去讲道。因梁武帝不能悟道，而渡江到北魏，停留在嵩山少林寺，整日面壁修道。后来慧可跟他学法，于是将衣钵传授给慧可。于梁大通二年（公元五三O）圆寂。 这一幅画达摩盘膝坐在草上，双眼凝神，好像已经入定。身上披着红袍，袍上用泥金钩画装饰图纹，显得庄严古艳。 |
| 内容简介（英文） | Tamo was originally known as Bodhidharma. In the year 520 of the Liang Dynasty he came by sea to Hangchou. After a short while, the Liang emperor Wu-ti commanded his presence at the imperial court, then at the city of Nanking, and asked him to lecture on the tao (the way). However, because the Liang Emperor Wu-ti failed to comprehend his teachings, bodhidharma left the capital, crossed the Yangtze, and set out for the Kingdom of the Northern Wei. He broke his journey at Sung-shan and stayed at the Shao-lin Temple. In order to cultivate the tao and attain enlightment he would sit facing a wa11 meditating the whole day. Eventually he took Hui-k'o as disciple and passed on his way of attaining enlightenment; thus the inception of the school of Ch'an (or Zen) Buddhism. In the second year (530) of the Liang Emperor Wu-ti's reign Ta-t'ung Bodhidharma left this world. This picture shows Bodhidharma seated with his legs crossed on a grass mat. His two eyes are fixed in an intent gaze as if he had already entered into meditation. He wears a red robe decorated with a gold border in a meander pattern which adds to the dignity and antique feeling of the work |
