| 文物統一編號 |
贈畫000436N000000000
|
| 作品號 |
贈畫00043600000 |
| 品名 |
宋勾龍爽佛像 軸
Buddhist Figures |
| 分類 |
繪畫 |
| 作者 |
勾龍爽,Gou Longshuang |
| 數量 |
一軸 |
| 位置 |
尺寸(公分) |
| 全幅 |
210x45.2 |
| 本幅 |
51.5x31.4 |
| 印記類別 |
印主 |
印記 |
| 收傳印記 |
黃君璧 |
白雲堂藏 |
| 收傳印記 |
黃君璧 |
涇縣朱𤦽珍藏 |
| 主題類別 |
主題(第一層) |
主題(第二層) |
主題說明 |
| 主要主題 |
佛道人物 |
僧（和尚、尼姑） |
和尚 |
| 其他主題 |
器用 |
宗教器用 |
權杖 |
| 類別 |
參考資料 |
| 內容簡介 |
勾龍爽，神宗時（西元一０六七至一０八五年）為圖畫院祇候，蜀（四川）人。好丹青，善作古人物，其狀質野。觀之如鼎彝間見三代以前篆書，便覺近習為凡陋。工畫佛道人物，善為古體衣冠，精裁緻密，為一代奇筆。畫中二僧，前捧經卷，後持鍚杖。按佛教來自印度，故僧像帶有異國人物造形，所謂胡貌梵相，具羅漢特色。畫家更常賦與不食人間煙火情態，因此，清、奇、古、怪每多出於畫面，本幅亦作如此手法。此畫為黃君璧先生捐贈。
|
| Description |
Kou Lung-shuang was a native of Shu (Szechwan) and achieved the rank of chih-hou (Usher) in the Painting Academy during the reign of the Emperor Shen-tsung (r. 1067-1085). He excelled at depicting figures that appear archaic and uncultivated. Gazing at them is like looking at the archaic beauty of seal-style script on ancient bronzes, making one feel that contemporary styles are inferior. Kou Lung-shuang excelled at painting Buddhist and Taoist figures; particularly archaic-1ooking bodies, clothes, and crowns, which all appear as if incised and tightly knit. In this painting are two monks; the one in front holds a sutra and the other carries a tin staff. Buddhism came to China from India, so it is not surprising to see these monks as non-native Chinese. The so-called " Cental Asian and Indian appearances" are special features of lohans. Painters often bestowed upon them an air of reclusion. As a result, the purity, eccentricism, archaism, and peculiarity of lohans were repatedly depicted in paintings such as this. This painting was donated to the Museum by Mr. Huang Chun-pi.
|
| 收藏著錄 |
黃君璧先生捐贈文物特展目錄，頁7-8、43-44
|
| 參考書目 |
1.李玉珉，〈宋勾龍爽佛像〉，收入李玉珉主編，《羅漢畫》（臺北：國立故宮博物院，1990年初版），頁74。
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本院文物保存維護依〈國立故宮博物院典藏文物管理作業要點〉及〈國立故宮博物院文物修護業務作業原則〉辦理
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