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【類別】 |
【參考資料】 |
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收藏著錄 |
秘殿珠林三編（乾清宮），頁62
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收藏著錄 |
故宮書畫錄（卷五），第三冊，頁92
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收藏著錄 |
故宮書畫圖錄，第二冊，頁143-144
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參考書目 |
1.李玉珉，〈宋李嵩畫羅漢〉，收入李玉珉主編，《羅漢畫》（臺北：國立故宮博物院，1990年初版），頁75-76。
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內容簡介（中文） |
李嵩（西元1190至1230年），錢塘（今浙江杭州）人。李從訓養子，光、寧、理。三朝畫院待詔，工畫道釋人物，得其義父遺意，尤長界畫。 本幅除山石皴筆外，俱用中鋒鉤勒，筆蒼勁而流暢。柳葉藤枝，真力充沛，運轉若神。佛畫中每多佳作，此則其尤者也。
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內容簡介（英文） |
Li Sung was a native of Ch’ien-t’ang, Chekiang. In this painting, a lohan is holding a bamboo cane and sitting on a monk’s chair (used for meditation). The back of the chair is covered with a brocaded cloth. Although the lohan’s hair has turned white and his body weakened, his eyes still are spirited ; he is shown as if deep in thought. In the foreground are two attendants, one preparing a goblet and the other a basket of flowers as an offering. Following in the tradition of early Buddhist painting, the coloring is opulent and the brushwork refined. This exceptionally delicate work is traditional attributed to Li Sung, but it may be the work of a professional Yuan dynasty (1279-1368) master. The incense stand with six legs, railing and lotus-petal base forms a set with the monk’s chair. The decorative bronze waist serves the purpose of strengthening the piece. The top of the stand is in the shape of an altar with a platform surrounded by a balustrade. The waist at the center and the base frame are decorated with bronze floral designs.
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內容簡介（中文） |
本幅繪一羅漢，鬚髮盡白，雙目有神，手拄竹杖，坐於禪床之上。身側有二位隨侍，一位捻香，另一位備花，狀甚恭敬。全作賦色妍麗，除了山石皴筆外，俱用中鋒鉤勒，用筆蒼勁而流暢。柳葉藤枝，運轉若神。無款印，舊傳為李嵩（西元一一九O─一二三O年）之作，但從畫風觀之，可能出自元代畫家之手。李嵩，錢塘（今浙江杭州）人。光、寧、理宗三朝畫院待詔，工畫道釋人物。
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內容簡介（英文） |
This painting shows a lohan whose hair has turned white as he stares out with spirit. He leans on a bamboo cane and sits on a monk’s (meditation) chair. He has two attendants-one holds an incense holder and the other is preparing flowers. The coloring is beautiful. Except for the texture strokes of the slope, the work was done in outlines using a centered brush. The brushwork is forceful yet fluid. The willow leaves and trailing vines all twist and turn. Although it does not have the signature or seal of the artist, it has been attributed to Li Sung. However, judging from style, it probably came from the hand of a yuan (1279-1368) artist. Li Sung served as a Painter-in-Attendance who specialized in Buddhist figures and the ruled-line style.
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網頁展示說明 |
羅漢又稱阿羅漢，是指佛教修行的一個境界，達到這一個境界的修行人，將永遠不會再輪迴轉世。這幅作品畫一位羅漢，兩手拄握著一根竹杖，坐在一張禪床上。身側有兩位隨侍，一位正在捻香，另一位在整理花藍。這位羅漢的頭髮、眉毛和鬍髭都已變白，兩眼望著前方，嘴角下抑，神情生動。人物衣紋流暢，用筆又蒼勁有力。無論是羅漢身後垂楊的繁密樹葉，或是羅漢所坐的禪床和身前的六足蓮瓣座香几上的裝飾，都畫得極為精謹細緻。是本院所藏道釋人物畫中的一件佳作。 這件畫軸沒有作者的款印，根據題籤，過去稱它為李嵩（1190－1230）的作品。李嵩，錢塘（今浙江杭州）人，曾任南宋光、寧、理宗三朝的畫院待詔，工畫道釋人物和界畫。可是，從畫風看來，這幅羅漢可能出自元代畫家之手。
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網頁展示說明 |
Lohan is the Chinese term for arhat, which is used to describe a disciple of Buddhism who achieved a certain level of cultivation and escaped from the cycle of birth and rebirth. The lohan shown here is leaning on a bamboo cane with both hands and is sitting on a meditation seat. He has two attendants--one holds an incense holder and the other prepares a basket of flowers. His hair has turned white and he stares forward with a solemn expression. The drapery lines flow with grace yet strength. The use of brushwork in this painting is exceptionally refined, as seen in the clusters of drooping willow leaves above and the decoration of the seat and stand next to the lohan, making this is one of the masterpieces of Buddhist and Taoist figure paintings in the Museum collection. Although this painting bears no signature or seal of the artist, it has been attributed in the title slip to Li Sung, who served as a Painter-in-Attendance at the Southern Sung court between 1190 and 1230 and specialized in Buddhist and Taoist figures as well as the ruled-line style of painting. However, judging from style, this work probably came from the hand of a Yuan dynasty (1279-1368) artist.
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參考書目 |
〈宋李嵩畫羅漢 軸〉，收入國立故宮博物院編輯委員會、林莉娜主編《畫中家具特展》（臺北：國立故宮博物院，1996.10），頁36-37、115。
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