【国画基本信息】
| 作者 | 邢慈静 |
| 品名 | 画观世音菩萨三十二应身相册 |
| 朝代 | 明朝 |
| 文件大小 | 433.1MB |
| 分辨率 | 300x300 |
| 像素大小 | 2594x2319 |
| 尺寸（CM） | 21.96x19.63 |
| 作品数量 | 24 |
| 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 | 明邢慈静画观世音菩萨三十二应身相 册 Thirty-two Manifestations of Kuan-yin |
| 分类 | 绘画 |
| 作者 | Xing Cijing;邢慈静 |
| 数量 | 一册：二十四开（本幅二十四开二十四幅） |
典藏尺寸
| 【位置】 | 【尺寸】(公分) |
| 本幅 | 28.6x29.5 |
质地
| 【质地位置】 | 【质地】 |
| 本幅 | 纸 |
参考数据
| 【类别】 | 【参考数据】 |
| 收藏着录 | 秘殿珠林续编（干清宫），页178-180 |
| 收藏着录 | 故宫书画录（卷六），第四册，页64-66 |
| 收藏着录 | 故宫书画图录，第二十三册，页34-41 |
| 内容简介（中文） | 邢慈静，生卒年不详，山东临清人。是明代书画名家邢侗（一五五一－一六一二）的妹妹，贵州左布政马拯的妻子。善画竹石和白描大士。这画册是根据《楞严经》的内容，绘制的观世音菩萨三十二应身，原来应有三十二幅，现在仅存二十四幅，本次展览只选几件作为代表。全册人物以女相观音为主，祂们有的坐着，有的站着，有的面向我们，有的背向观众，姿势变化多端。每幅还题写观音赞语一首。 |
| 内容简介（英文） | Thirty-two Manifestations of Kuan-yin Hsing Tz’u-ching Ming Dynasty (1368-1644) Hsing Tz’u-ching was the younger sister of the famous painter-calligrapher Hsing T’ung (1551-1612). She excelled at painting the themes of bamboo-and-stones and the White-robed Kuan-yin. This album of the late Ming dynasty is based on the contents of the Śūrangama Sūtra and shows 32 transformations of Kuan-yin that have been done in gold ink. Of the original 32 leaves, only 24 now survive, of which a few have been chosen here for display. All the Kuan-yin figures are shown in female form. The manifestations of the deity are also rendered in a variety of poses, including seated, standing, facing the viewer, with the back to the viewer. Each leaf also includes a calligraphed poem in praise of Kuan-yin. |
| 内容简介（中文） | 邢慈静（公元十六世纪后期），山东临清人，书画家邢侗之妹，善画竹石及白描大士，有发绣大士极精。 关于观音的应化，以〔普门品〕所说三十三身，与〔楞严经〕所说的三十二应现，最为普及。观音应种种不同机缘，变化无限化身，说法度生。本册描金画观音三十二应身像。人物画中纯以线条钩勒形相者，称之为「白描」，此画中以金代墨，是为「描金」。今选其中八幅展出，分别是持经观音、一叶观音、众宝观音、无畏观音、龙头观音、杨柳观音、水月观音及叶衣观音。 |
| 内容简介（英文） | Thirty-two manifestations of kuan-yin Hsing Ts’u-ching (fl. Late 16th century) Ming Dynasty Hsing Ts’u-ching, the younger sister of Hsing T’ung, was a native of Lin-ch’ing, Shantung. She excelled at painting bamboo, rocks, and pai-miao (ink out-line) bodhisattvas. She is especially acclaimed for her hair-embroidered pictures of bodhisattvas. The thirty-three manifestations of Kuan-yin mentioned in the Saman-tamukha chapter of the Lotus sūtra and the thirty-two mentioned in the Śūrangama Sūtra are the most widely accepted descriptions of Kuan-yin’s transformations. The bodhisattva Kuan-yin, capable of unlimited transformations, alters her appearance in order to propogate the Buddha truth and rescues all beings in varied circumstances. This album is comprised of thirty-two images of the manifestations of Kuan-yin, all painted in gold, with the forms all drawn in the ink outline technique. Eight leaves have been specially selected for this exhibition. These include images of Kuan-yin holding a sūtra, Kuan-yin on a lotus-flower petal, Bejeweled Kuan-yin, Abhaya (dauntless) Kuan-yin, Dragon-head Kuan-yin, Kuan-yin with a willow branch, water-moon Kuan-yin, and Kuan-yin clad in leaves. |
| 参考书目 | 1.李玉珉，〈明刑慈静观世音菩萨三十二应身〉，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195-198。 2.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40。 |
