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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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收藏著錄 |
故宮書畫圖錄，第二冊，頁107-108
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參考書目 |
1.李玉珉，〈行走於蒙元的藝廊裡 — 「大汗的世紀」特展 宋劉松年畫羅漢〉，《故宮文物月刊》，第225期（2001年12月），頁17-18。
2.《劉松年畫羅漢》（台北：國立故宮博物院，1980）。
3.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。
4.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。
5.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。
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內容簡介（中文） |
尊者背坐石壁，袒右肩，跣足。蠻王持獻寶盆。款同前。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） |
The lohan sits with his back to a rock. His right shoulder is bare, and he has removed his shoes. A barbarian King offers him a dish of flaming jewels. The signature is identical to that on the first 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(see No. 70), a round fan of calligraphy by the Sung emperor Kao-tsung(the facing leaf to Chao Ling-jang's painting; unpublished), and the three paintings by Liu Sung-nien now under discussion. In the Lu Leng-chia album the “Nei Fu Shu Hua” seal is placed at the upper left corner and “Hung Chieh T'u Shu” appear in the upper right corner. Chao Ling-jang's painting and Sung Kao-tsung's calligraphy are both round fans, and the “Nei Fu Shu Hua” seal appears at the top center on both. Neither bears the “Huang Chieh T'u Shu” seal. In all three of the Liu Sung-nien paintings. “Nei Fu Shu Hua” is at the upper left. “Huang Chieh T'u Shu” is at the upper left under “Nei Fu Shu Hua” in the first scroll and at the upper right on the second and third scrolls. From this we can conclude that “Nei Fu Shu Hua” always appears in the same position on the painting, whereas the position of “Huang Chieh T'u Shu” is variable. We can also assume that “Nei Fu Shu Hua” is earlier than “Hunag Chieh T'u Shu”. Therefore, the “Nei Fu Shu Hua” seal must have been affixed to Liu Sung-nien's paintings between 1207(the date of execution) and 1295 (the date of the “Huang Chieh T'u Shu” seal; cf. No. 74), and it is very possibly a seal of Ning-tsung(r.1194-1224).
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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，紹熙年待詔。山水、人物師張敦禮，而神氣清妙，過於其師，時稱絕品。
此軸畫一羅漢持竿坐石，一蠻王手捧珊瑚、寶珠供養。張敦禮的山水師法李唐，故此幀羅漢身後的山石用小斧襞皴層層皴染，短截勁健的用筆和沉郁的墨色將山石堅硬的質感一表無遺，依稀可見李唐畫風的影響。畫中的羅漢斜視蠻王，張口而喝，生活氣息濃郁。(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. In landscapes and figures, he studied after Zhang Dunli, achieving a spirited and marvelous quality surpassing that of his teacher to create unparalleled works praised at the time.
This painting depicts a Buddhist lohan holding a cane as he sits on a rock. A foreign king appears before him holding an offering of coral and jewels. In landscapes Zhang Dunli followed the methods of Li Tang, thereby accounting for the layers of textured washes in small “axe-cut” strokes for the rock and landscape elements. The short, choppy strokes of the vigorous brushwork and the dark ink tones bring out all the toughness of the rock forms, the influence of Li Tang’s style still faintly visible here. The lohan here glances to the side at the king, his mouth agape as if to say something, thus breathing more life into this scene.(20101015)
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參考書目 |
陳韻如，〈宋劉松年畫羅漢 軸〉，收入《公主的雅集-蒙元皇室與書畫鑑藏文化特展》（臺北：國立故宮博物院，2016.10），頁28-31、256-257。
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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249、375。
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