宋劉松年畫羅漢 軸 劉松年;Liu Songnian , 118.1x56

詳細資料

基本資料 藏品類型 繪畫
文物統一編號 故畫000100N000000000 抽盤點紀錄 修護紀錄
作品號 故畫00010000000
品名 宋劉松年畫羅漢 軸
Lohan
分類 繪畫
作者 劉松年;Liu Songnian
創作時間 宋寧宗開禧三年(1207)
數量 一軸

典藏尺寸 【位置】 【尺寸】(公分)
本幅 118.1x56

質地 【質地位置】 【質地】
本幅

題跋資料 【題跋類別】 【作者】 【位置】 【款識】 【書體】 【全文】
作者款識 劉松年 本幅 開禧丁卯(西元一二○七年)。劉松年畫。

印記資料 【印記類別】 【印記】
鑑藏寶璽 乾隆御覽之寶
鑑藏寶璽 乾隆鑑賞
鑑藏寶璽 秘殿珠林
鑑藏寶璽 三希堂精鑑璽
鑑藏寶璽 宜子孫
鑑藏寶璽 秘殿新編
鑑藏寶璽 珠林重定
鑑藏寶璽 乾清宮鑑藏寶
鑑藏寶璽 太上皇帝
鑑藏寶璽 嘉慶御覽之寶
鑑藏寶璽 宣統御覽之寶
鑑藏寶璽 宣統鑑賞
鑑藏寶璽 無逸齋精鑑璽
收傳印記 皇姊圖書
收傳印記 內府書畫
收傳印記 禮部評驗書畫關防(半印)

主題 【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 羅漢(應真、尊者)
其他主題 佛道人物 供養人
其他主題 樹木 芭蕉
其他主題 器用 傢俱(屏風)
其他主題 器用 宗教器用

參考資料 【類別】 【參考資料】
收藏著錄 秘殿珠林續編(乾清宮),頁76
收藏著錄 故宮書畫錄(卷五),第三冊,頁88-89
收藏著錄 故宮書畫圖錄,第二冊,頁105-106
參考書目 1.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75。 2.李玉珉,〈劉松年畫羅漢〉,收入石守謙、葛婉章主編,《大汗的世紀:蒙元時代的多元文化與藝術》(臺北:國立故宮博物院,2001年初版),頁290-291。 3.本社,〈劉松年畫羅漢〉,《故宮文物月刊》,第72期(1989年3月),頁1。 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。
內容簡介(中文) 劉松年(活動於西元一一七四至一二二四年),錢塘(今浙江杭州)人,居 清波門,俗呼暗門劉。南宋孝宗淳熙間為畫院學生,至紹熙年間成為畫院待詔。山水人物師張敦禮,而神氣清妙,時稱絕品。 本院藏畫中,有三幅劉松年畫羅漢。每幅都署款「開禧丁卯(西元一二○七 年)劉松年畫」,筆墨也極接近,應是同時之作。此幅描繪羅漢坐於屏風下,一侍者捧經立於其前。筆力秀勁,傅彩精麗。連布紋、木紋也細繪如?。 尊者柱杖坐,一僧執經問義。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。
內容簡介(英文) Liu Sung-nien, a native of Chekiang, was a student in the Painting Academy and later served as a Painter-in-Attendance during the Shao-hsi period (1190-1195). He lived outside the Ch'ing-p'o Gate so people called him Liu Ch'ing-p'o. 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 in the Museum, Each bears the signature, “Painted in 1207 by Liu Sung-nien” The brushwork in all three is quite similar, and so they must have been painted at about the same time. A lohan is seated in front of a screen, attended by a servant who is holding a sutra. The brushwork and coloring of this painting are particularly fine, even the lines of the garments and the grain of the wood are carefully and realistically rendered. The lohan sits holding a staff. A priest questions him about the meaning of a sutra scroll. The signature is again the same. 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.
內容簡介(中文) 劉松年(活動於1174-1224),錢塘(今浙江杭州)人。又劉清波和暗門劉之號。孝宗、光宗和寧宗三朝,任職畫院。工畫山水、人物,時稱絕品。   此軸畫一羅漢拄杖而坐,一在家弟子執經問義。羅漢抿嘴,雙眼專注,神情生動。羅漢衣上的圖案和屏風上的木紋以描繪如真。羅漢身後的屏風,以水墨畫蘆汀雙鷺和秋渚鴛鴦,筆簡墨淡,若有蒸嵐迷霧,清遠虛曠,正是典型的南宋汀渚水鳥畫作。(20101015)
內容簡介(英文) Liu Songnian was a native of Qiantang (modern Hangzhou, Zhejiang) also known by the sobriquets “Liu Qingbo” and “Anmen Liu.” He served in the Painting Academy during the reigns of three emperors: Xiaozong, Guangzong, and Ningzong. He was gifted at landscapes and figures, creating unparalleled works praised at the time. This work depicts a seated Buddhist lohan leaning against a staff with a lay disciple in front of him holding a scripture to inquire of its meaning. The patterns of the lohan’s clothing and that of the wood grain on the screen behind him are all rendered quite realistically. The screen also features a paneled monochrome ink painting with a pair of egrets by a sandbar of reeds as mandarin ducks appear along an autumn shoal. The brushwork is succinct and the ink light, as if a hazy mist permeates the scene to create a pure and remote feeling of spacious void. This is typical of Southern Song shoal-and-waterfowl painting.(20101015)
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24-27、256。
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248、375。

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