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【類別】 |
【參考資料】 |
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收藏著錄 |
秘殿珠林續編（乾清宮），頁76
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁88-89
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故宮書畫圖錄，第二冊，頁103-104
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參考書目 |
1.李玉珉，〈宋劉松年畫羅漢〉，收入王耀庭、許郭璜、陳階晉編，《故宮書畫菁華特輯》（臺北：國立故宮博物院，1987年初版，2001年再版），頁112-113。
2.李玉珉，〈宋劉松年畫羅漢〉，收入李玉珉主編，《羅漢畫》（臺北：國立故宮博物院，1990年初版），頁74-75。
3.李玉珉，〈宋劉松年畫羅漢〉，《故宮文物月刊》，第100期（1991年7月），頁75。
4.《劉松年畫羅漢》（台北：國立故宮博物院，1980）。
5.楊美莉，《劉松年畫羅漢三軸之研究－兼論宋人之羅漢信仰－》，國立台灣大學歷史學研究所中國藝術史組碩士論文，1982年。
6.梁婷育，《劉松年《羅漢》三軸畫史意義之研究─兼論其宗教意涵與圖像表現》，南華大學美學與藝術管理研究所碩士論文，2007年。
7.李玉珉，〈畫羅漢〉，收入何傳馨主編，《文藝紹興：南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010年十月初版一刷），頁375。
8.吳誦芬；〈明宣宗戲猿圖軸介紹〉，《故宮文物月刊》，第351期（2012年6月份），頁106-113。
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內容簡介（中文） |
劉松年（西元十二世紀末期至十三世紀初期）淳熙畫院學生，紹熙年待詔。錢塘人，居清波門外，人呼劉清波，又呼暗門劉。山水人物師張敦禮，而神氣清妙，時稱絕品。 劉松年同時所畫羅漢共三幅，此為其中之一幅。畫者倚桫欏樹，上有通臂猿摘石榴，一童持杖，以袂承果。用筆傅彩，皆極精妙，尤以佛頂圓光，及三樹枝柯掩映，繁縟精美，皆臻絕妙。羅漢在早期佛教?，是獨善其身的修行者，大乘佛教興起後，逐漸具備渡化眾生的菩薩特質。本幅畫一羅漢，濃眉高鼻，倚桫欏樹沉思，身側一小和尚以衣袖承接樹上長臂猿所摘之石榴，羅漢的袈裟圖案以泥金描繪，透過他頭後的圓光，尚能看見樹枝掩映，足見畫家功力。斑駁的樹幹和湖石表面，呼應著羅漢佈滿皺紋的面容。 尊者倚桫欏樹。上有通臂猿摘桃，一行童持杖，以袂承之。雙鹿馴遊。款「開禧丁卯（一二○七）劉松年畫」。有「內府書畫」「皇姊圖書」印。按「內府書畫印」凡六見：一見於唐盧楞伽十八羅漢冊（見喜龍仁中國畫第三冊圖八九下），一見於北宋趙令穰橙黃橘綠冊（見本書圖七○）；一見於宋高宗書紈扇（為趙令穰橙黃橘綠冊對幅，未印）；另三印即見於此三幅羅漢像中。盧楞伽羅漢冊，「內府書書」印鈐於左上角，「皇姊圖書」印鈐於右上角；趙令穰畫及宋高宗書，因係圓幅，「內府書畫」印皆鈐於正中上方。亦無「皇姊圖書」印。此三幅羅漢像，「內府書畫」印，皆鈐於左上方。而「皇姊圖書」印，第一幅鈐於左上方，在「內府書畫」印之下；第二、三兩幅，則鈐於右上方。據此，則知「內府書畫」印，鈐蓋有定位，而「皇姊圖書」印無定位。亦即證知「內府書畫」印在「皇姊圖書」印之前。故「內府書畫」印在時間上之上限為開禧丁卯（一二○七），下限為元貞乙未（一二九五），極可能為宋寧宗收藏印。
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內容簡介（英文） |
Liu Sung-nien, a native of Chekiang, was a student in the Painting Academy and later served as Painter-in-Attendance during the Shao-hsi reign period(1190-1195). He lived outside the Ch’ing-po gate so people called him Liu Ch’ing-po. He was also called An-men-liu. He learned the art of painting landscapes and figures from Chang Tun-li. Liu’s paintings often are said to have a pure and exquisite spirit and at the time they were considered second-to-none. This is one of three Lohan paintings by this artist, all dated 1207, in the Palace Museum. This picture depicts a lohan leaning against a so-lo tree. Above him long-armed monkeys are picking pomegranates and passing them down to a youth with a long staff, who collects them in his coat. Two deer stand tamely at his feet. The handling of the brush and the use of colour in this work are very fine;especially in the lohan’s halo and the beautifully intricate branches of the trees. ──The first of these three hanging scrolls depicts a Buddhist sage, or lohan, leaning on a branch of a sala tree. Above him a monkey holds a peach in its outstretched arms; a boy holding a staff prepares to receive it. A pair of tame deer stand in the foreground. The painting is signed “In the ting-mao year of K’ai-hsi(1207), painted by Liu Sung-nien.” In the second painting --The lohan sits holding a staff. A priest questions him about the meaning of a sutra scroll. All three scrolls bear the seals “Nei Fu Shu Hua” and “Huang Chieh T’u Shu”. The seal “Nei Fu Shu Hua” appears on six paintings: “Eighteen Lohans” by Lu Leng-chia of the T’ang (see Hsi Lung-jen, Chung-kuo hua, Vo1. Ⅱ, pl. 89b), “Orange Groves in Bloom” by Chao Ling-jang of the Northern Sung (see No. 70), a round fan of calligraphy by the Sung emperor Kao-tsung(the facing leaf to Chao Ling-jang’s painting; unpublished), and the three paintings by Liu Sung-nien now under discussion.
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內容簡介（中文） |
劉松年（活動於1174-1224），錢塘（今浙江杭州）人，淳熙畫院學生，紹熙年間任待詔。寧宗時因進〈耕織圖〉稱旨，賜金帶。與李唐、馬遠和夏圭合稱為「南宋四大家」。
此軸畫一羅漢龐眉大鼻，身著右袒式袈裟，顯為梵僧。祂雙眸凝視，若有所思，隨侍的小沙彌以衣袂承接長臂猿所摘的石榴，足前雙鹿仰頭而望。全作敷色妍麗，繪製精謹。羅漢頭後的圓光及樹枝交疊掩映，層次分明，繁縟精美，更臻絕妙。(20101015)
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內容簡介（英文） |
Liu Songnian was a native of Qiantang (modern Hangzhou, Zhejiang) who served in the Chunxi era as a Student (xuesheng) in the Painting Academy and also as a Painter-in-Attendance during the Shaoxi era. During the reign of Ningzong, he submitted the painting of “Illustrations of Agriculture and Sericulture,” being summoned by the emperor and receiving the prestigious Golden Belt. Along with Li Tang, Ma Yuan, and Xia Gui, he is known as one of the “Four Southern Song Masters.”
This scroll depicts a Buddhist lohan (arhat) with bushy eyebrows and a large nose. He wears a monk’s robe exposing the right shoulder, indicating his status as an Indian monk. Staring out in contemplation, he appears as if in deep thought. The novice monk in attendance uses the sleeve of his robe to receive the pomegranate that a gibbon has picked, and in front of the lohan are two deer looking upwards. The coloring throughout is beautiful and the rendering meticulous. The halo behind the lohan’s head and the veiled interlocking branches are rendering with distinct layering. Complex yet delicate, this is a truly exquisite work.(20101015)
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參考書目 |
何傳馨，〈宋劉松年畫羅漢 軸〉，收入《文藝紹興-南宋藝術與文化‧書畫卷》（臺北：國立故宮博物院，2010.10），頁246-247、375。
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參考書目 |
國立故宮博物院編輯委員會，〈宋劉松年畫羅漢 軸〉，收入《故宮書畫菁華特輯》（臺北：國立故宮博物院，1996.10），頁112-113。
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