宋劉松年畫羅漢 軸
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- 資料識別：
- 故畫000101N000000000
- 資料類型：
- 繪畫
- 著作者：
- 劉松年
- 主題與關鍵字：
- 羅漢（應真、尊者） 供養人 芭蕉 傢俱（屏風） 宗教器用
- 日期：
- 宋寧宗開禧三年（1207）
- TIME STAMP:20-1月 -06
- 格式：
- 本幅 117.4x56.1公分&全幅 94公分
- 關聯：
- 秘殿珠林續編（乾清宮），頁76 &故宮書畫錄（卷五），第三冊，頁88-89 &故宮書畫圖錄，第二冊，頁107-108&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。&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(see No. 70), a round fan of calligraphy by the Sung emperor Kao-tsung(the facing leaf to Chao Ling-jang's painting; unpublished), and the three paintings by Liu Sung-nien now under discussion.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.
- 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
