金处士笔 十殿阎罗图
标题：十殿阎罗图
作者：金处士（中国，活跃于 12 世纪晚期）
朝代：宋朝（960–1279）
创作时间：1195 年之前
文化：中国
材质：十幅挂轴组画中的第五幅；绢本设色
尺寸：画面：51×19.5 英寸（129.5×49.5 厘米）；含轴头整体：80×27.5 英寸（203.2×69.9 厘米）
分类：绘画
收藏：美国大都会艺术博物馆
收藏来源：罗杰斯基金捐赠，1930 年
馆藏编号：30.76.293
金处士笔 十殿阎罗图（点击标题下载）
此作为描绘 ‘十王审判’ 主题的五幅挂轴组画（30.76.290–.294）之一，该题材形成于唐代（618–907）后半期。作品将印度佛教的死后审判观念转化为典型的中国官僚体系流程：亡者灵魂在七七四十九天内每周接受一位冥王审判，百日时移送第八王，周年时移送第九王，三周年时移送第十王。每幅画面均呈现冥王在书吏及其他官吏辅佐下审理亡灵的场景，前景则描绘鬼卒惩戒罪人的情节。
现存宋元时期佛教绘画多保存在日本，其中许多作品通过浙江宁波港流入该国 —— 宁波是日本商人和求法僧的重要贸易口岸。本组画作题跋显示其创作于明州（宁波旧称，1195 年改称庆元府）居士金处士画室，故成画时间必早于 1195 年。其风格与京都大德寺藏《五百罗汉图》（1178 年作，同为宁波出品）极为相近，生动的线描与浓烈的设色体现了宋代佛教叙事画的最高艺术水准。
金处士笔 十殿阎罗图（点击标题下载）
金處士筆 十王図の内
Title: Ten Kings of Hell
Artist: Jin Chushi (Chinese, active late 12th century)
Period: Song dynasty (960–1279)
Date: before 1195
Culture: China
Medium: One of five of a set of ten hanging scrolls; ink and color on silk
Dimensions: Image: 51 x 19 1/2 in. (129.5 x 49.5 cm)
Overall with knobs: 80 x 27 1/2 in. (203.2 x 69.9 cm)
Classification: Paintings
Credit Line: Rogers Fund, 1930
Object Number: 30.76.293
金处士笔 十殿阎罗图（点击标题下载）
This is one from a set of scrolls (30.76.290–.294) illustrating the theme of the Ten Kings of Hell, which developed during the second half of the Tang dynasty (618–907). The theme transforms the Indian Buddhist view of judgment after death into a typically Chinese bureaucratic process. Before being permitted to transmigrate into the next life, a soul is tried by a different king each week for seven weeks; it is sent to the eighth king on the hundredth day, to the ninth after a year, and to the tenth the third year after death. Here, each scroll shows a king—assisted by a scribe and other officials—examining and passing sentence on the souls of the dead; in the foreground demons punish the wicked..
金处士笔 十殿阎罗图（点击标题下载）
Most extant Song and Yuan dynasty Buddhist paintings were preserved in Japan; many had been taken there from Ningbo, Zhejiang Province, an important port city for Japanese merchants and pilgrims. Inscriptions on the present paintings state that they were made in the studio of Jin Chushi, a Buddhist layman in Mingzhou, the name for Ningbo before it was changed to Qingyuanfu in 1195; the paintings, therefore, must date prior to that year. Stylistically, they are extremely close to The Five Hundred Luohans in the Zen Buddhist temple Daitokuji, Kyoto, which were also made in Ningbo and are dated 1178. The vivid drawing and the intense colors of these works are typical of the best Buddhist narrative paintings of the period.
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