宋劉松年補衲圖 軸
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- 資料識別：
- 故畫000102N000000000
- 資料類型：
- 類型:繪畫
- 型式:靜態圖像
- 著作者：
- 劉松年
- 主題與關鍵字：
- 羅漢（應真、尊者） 佛道侍者 僧（和尚、尼姑） 茶花 狗 欄杆 傢俱（屏風）
- 出版者：
- 數位化執行單位:國立故宮博物院
- 格式：
- 本幅 141.9x59.8公分、全幅 92.5公分
- 關聯：
- 秘殿珠林續編（乾清宮），頁77 &*故宮書畫錄（卷五），第三冊，頁89 &*故宮書畫圖錄，第二冊，頁121-122&*本幅畫兩名僧人坐於禪榻上，老者正潛心補衣，另一人則抱膝旁觀。屏後，復有侍者二人，佇立捻茶。畫中人物，表情鮮活而自然，衣紋用筆亦流暢有力。惟右下方款署之「畫院待詔賜金帶劉松年敬贈」，及鈐「劉松年印」，疑偽。 劉松年（西元12世紀末），浙江錢塘人，南宋孝宗淳熙間（1174─1189）延入畫院，紹熙間（1190-1194）升為待詔。存世作品以「畫羅漢」三軸最具代表性。若與「補納圖」相較，風格互異，故本幅應係元以後畫家託名而作。&*In this painting, two monks are seated on a meditation platform. The elder is concentrating on mending a cassock while the other sits cross-legged next to him and observes. To the side behind them are two figures grinding and preparing tea. The expressions of the figures here are fresh and natural, while the brushstrokes defining the drapery lines are fluent yet powerful. Nonetheless, the signature in the lower left corner (“Respectfully painted by the Painter-in-Attendance and Gold Belt Recipient of the Painting Academy , Liu Sung-nien”) and the seal (“Seal of Liu Sung-nien”) appear dubious. Liu Sung-nien was a native of Ch'ien-t'ang , Chekiang , who entered the painting academy during the Ch'un-hsi era (1174-1189) of Emperor Hsiao-tsung. In the Shao-his era (1190-1194), he was promoted to Painter-in-Attendance. The works most representative of his style that survive today are three lohan paintings in the National Palace Museum. The style of this painting, in comparison, appears somewhat different from them. It is probably a work from the Yüan dynasty (1279-1368) or later with an interpolated signature of Liu Sung-nien.
- 管理權：
- 國立故宮博物院
授權聯絡窗口
- 國立故宮博物院圖像授權、出版授權、影音資料授權-申請流程說明
http://www.npm.gov.tw/zh-TW/Article.aspx?sNo=03003061
