书体:

色彩:

设色

装裱形式:

轴

创作时间:

文字类型:

质地:

本幅绢

释文:

印记资料:

鑑藏宝玺：乾隆御览之宝
鑑藏宝玺：乾隆鑑赏
鑑藏宝玺：石渠宝笈
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：石渠定鑑
鑑藏宝玺：宝笈重编
鑑藏宝玺：干清宫鑑藏宝
鑑藏宝玺：太上皇帝
鑑藏宝玺：嘉庆御览之宝
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
收传印记：皇姊图书
收传印记：内府书画
收传印记：礼部评验书画关防（半印）

题跋资料:

题跋类别：作者款识；作者：刘松年；题跋位置：本幅；款识：开禧丁卯（西元一二０七年）刘松年画；书体：楷书；全文：        

题跋类别：题跋；作者：清高宗；题跋位置：本幅；款识：无；书体：行书；全文：倚菩提树。俯视伊尼。如示妙偈。知乎不知。树头结果。其果累垂。猨猴登树。摘果以嬉。童子攓袂。仰而承之。有色有象。无意无为。细入毫发。匪夷所思。金刚四句。一幅全披。合掌欲询。应真伊谁。辛卯辛正御赞。印记：干、隆

主题:

主要主题：佛道人物罗汉（应真、尊者） ；其他主题：佛道人物佛道侍者 ；其他主题：树木 桫椤树；其他主题：树木寒林．枯树 ；其他主题：树木竹 ；其他主题：花草桃花 ；其他主题：走兽猿 ；其他主题：走兽鹿 

技法:

人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 秘殿珠林续编（干清宫），页76  收藏着录： 故宫书画录（卷五），第三册，页88-89  收藏着录： 故宫书画图录，第二册，页103-104  参考书目： 1.李玉珉，〈宋刘松年画罗汉〉，收入王耀庭、许郭璜、陈阶晋编，《故宫书画菁华特辑》（台北：国立故宫博物院，1987年初版，2001年再版），页112-113。2.李玉珉，〈宋刘松年画罗汉〉，收入李玉珉主编，《罗汉画》（台北：国立故宫博物院，1990年初版），页74-75。3.李玉珉，〈宋刘松年画罗汉〉，《故宫文物月刊》，第100期（1991年7月），页75。4.《刘松年画罗汉》（台北：国立故宫博物院，1980）。5.杨美莉，《刘松年画罗汉三轴之研究－兼论宋人之罗汉信仰－》，国立台湾大学历史学研究所中国艺术史组硕士论文，1982年。6.梁婷育，《刘松年《罗汉》三轴画史意义之研究─兼论其宗教意涵与图像表现》，南华大学美学与艺术管理研究所硕士论文，2007年。7.李玉珉，〈画罗汉〉，收入何传馨主编，《文艺绍兴：南宋艺术与文化‧书画卷》（台北：国立故宫博物院，2010年十月初版一刷），页375。8.吴诵芬；〈明宣宗戏猿图轴介绍〉，《故宫文物月刊》，第351期（2012年6月份），页106-113。  内容简介（中文）： 刘松年（西元十二世纪末期至十三世纪初期）淳熙画院学生，绍熙年待诏。钱塘人，居清波门外，人呼刘清波，又呼暗门刘。山水人物师张敦礼，而神气清妙，时称绝品。 刘松年同时所画罗汉共三幅，此为其中之一幅。画者倚桫椤树，上有通臂猿摘石榴，一童持杖，以袂承果。用笔傅彩，皆极精妙，尤以佛顶圆光，及三树枝柯掩映，繁缛精美，皆臻绝妙。罗汉在早期佛教?，是独善其身的修行者，大乘佛教兴起后，逐渐具备渡化众生的菩萨特质。本幅画一罗汉，浓眉高鼻，倚桫椤树沉思，身侧一小和尚以衣袖承接树上长臂猿所摘之石榴，罗汉的袈裟图案以泥金描绘，透过他头后的圆光，尚能看见树枝掩映，足见画家功力。斑驳的树干和湖石表面，呼应着罗汉布满皱纹的面容。 尊者倚桫椤树。上有通臂猿摘桃，一行童持杖，以袂承之。双鹿驯游。款「开禧丁卯（一二○七）刘松年画」。有「内府书画」「皇姊图书」印。按「内府书画印」凡六见：一见于唐卢楞伽十八罗汉册（见喜龙仁中国画第三册图八九下），一见于北宋赵令穰橙黄橘绿册（见本书图七○）；一见于宋高宗书纨扇（为赵令穰橙黄橘绿册对幅，未印）；另三印即见于此三幅罗汉像中。卢楞伽罗汉册，「内府书书」印钤于左上角，「皇姊图书」印钤于右上角；赵令穰画及宋高宗书，因系圆幅，「内府书画」印皆钤于正中上方。亦无「皇姊图书」印。此三幅罗汉像，「内府书画」印，皆钤于左上方。而「皇姊图书」印，第一幅钤于左上方，在「内府书画」印之下；第二、三两幅，则钤于右上方。据此，则知「内府书画」印，钤盖有定位，而「皇姊图书」印无定位。亦即证知「内府书画」印在「皇姊图书」印之前。故「内府书画」印在时间上之上限为开禧丁卯（一二○七），下限为元贞乙未（一二九五），极可能为宋宁宗收藏印。  内容简介（中文）： 刘松年（活动于1174-1224），钱塘（今浙江杭州）人，淳熙画院学生，绍熙年间任待诏。宁宗时因进〈耕织图〉称旨，赐金带。与李唐、马远和夏圭合称为「南宋四大家」。此轴画一罗汉庞眉大鼻，身着右袒式袈裟，显为梵僧。祂双眸凝视，若有所思，随侍的小沙弥以衣袂承接长臂猿所摘的石榴，足前双鹿仰头而望。全作敷色妍丽，绘制精谨。罗汉头后的圆光及树枝交叠掩映，层次分明，繁缛精美，更臻绝妙。(20101015)  内容简介（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. During the reign of Ningzong, he submitted the painting of “Illustrations of Agriculture and Sericulture,” being summoned by the emperor and receiving the prestigious Golden Belt. Along with Li Tang, Ma Yuan, and Xia Gui, he is known as one of the “Four Southern Song Masters.”This scroll depicts a Buddhist lohan (arhat) with bushy eyebrows and a large nose. He wears a monk’s robe exposing the right shoulder, indicating his status as an Indian monk. Staring out in contemplation, he appears as if in deep thought. The novice monk in attendance uses the sleeve of his robe to receive the pomegranate that a gibbon has picked, and in front of the lohan are two deer looking upwards. The coloring throughout is beautiful and the rendering meticulous. The halo behind the lohan’s head and the veiled interlocking branches are rendering with distinct layering. Complex yet delicate, this is a truly exquisite work.(20101015)  内容简介（英文）： Liu Sung-nien, a native of Chekiang, was a student in the Painting Academy and later served as Painter-in-Attendance during the Shao-hsi reign period(1190-1195). He lived outside the Ch’ing-po gate so people called him Liu Ch’ing-po. 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-. This is one of three Lohan paintings by this artist, all dated 1207, in the Palace Museum. This picture depicts a lohan leaning against a so-lo tree. Above him long-armed monkeys are picking pomegranates and passing them down to a youth with a long staff, who collects them in his coat. Two deer stand tamely at his feet. The handling of the brush and the use of colour in this work are very fine;especially in the lohan’s halo and the beautifully intricate branches of the trees. ──The first of these three hanging scrolls depicts a Buddhist sage, or lohan, leaning on a branch of a sala tree. Above him a monkey holds a peach in its outstretched arms; a boy holding a staff prepares to receive it. A pair of tame deer stand in the foreground. The painting is signed “In the ting-mao year of K’ai-hsi(1207), painted by Liu Sung-nien.” In the second painting --The lohan sits holding a staff. A priest questions him about the meaning of a sutra 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.