摘要
台北故宫博物院现藏有一部款署"臣沈度敬书"、"臣商喜敬绘"的明宣德三年(1428)明宫廷写绘本《真禅内印顿证虚凝法界金刚智经》(简称《金刚智经》,共三卷)。该经全部106幅彩绘插图为目前已知唯一的一组有明确纪年的、题为商喜绘制的宗教画作,然而,学界对其是否系商喜亲自绘制这一问题却持有不同的看法。因此,在对《金刚智经》彩绘插图的汉藏融合风格特征加以细致分析的基础上,本文将结合商喜画作《老子出关图》的画风特征对其加以判定,明晰商喜画作中的南宋院体画风特征<1>,最后认定《金刚智经》彩绘插图应为商喜所绘,并由此认为,商喜善绘藏传佛教图像是一个不争的事实。
Based on the illustrated Buddhist sutra titled with Zhenchan Neiyin Dunzheng Xuning Fajie Jingangzhi Jing(short for Jingangzhi Jing) collected in the Palace Museum in Taipei,in which are presented the paintings by Shangxi together with the inscriptions by Shendu and the completed date saying the 3rd year of the Xuande(宣德) reign(1428),this paper makes a further study of the only extant volume of religious art classics including 106 pieces of colored illustrations bearing Shangxi's signature and exact date in aspects of the blend of the Han-Tibetan styles and characteristics compared with his another masterpiece of 'Laozi on Expedition'(Laozi Chuguan Tu),clarifying the academic painting style of the southern-Song dynasty shown in these works,and concluding that these illustrations were painted by Shangxi himself,who therefore proved to be an artist who had ever created artworks thematically on the Buddhism with his good master of Tibetan painting style and skills this way.
出处
《故宫博物院院刊》
CSSCI
北大核心
2012年第6期122-134,162,共13页
Palace Museum Journal
关键词
商喜
明宫廷画家
《真禅内印顿证虚凝法界金刚智经》彩绘插图
汉藏融合画风
Shangxi
the Ming Court artist
illustrated Buddhist sutra titled with Zhenchan Neiyin Dunzheng Xuning Fajie Jingangzhi Jing
the Han-Tibetan style
painting style
