书体:

色彩:

设色

装裱形式:

轴

创作时间:

宋宁宗开禧三年（1207）

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：秘殿珠林
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：秘殿新编
鑑藏宝玺：珠林重定
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○七年）。刘松年画。 

主题:

主要主题：佛道人物罗汉（应真、尊者） ；其他主题：佛道人物供养人 ；其他主题：树木芭蕉 ；其他主题：器用家俱（屏风） ；其他主题：器用宗教器用 

技法:

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105-106  参考书目： 1.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75。2.李玉珉，〈刘松年画罗汉〉，收入石守谦、葛婉章主编，《大汗的世纪:蒙元时代的多元文化与艺术》（台北：国立故宫博物院，2001年初版），页290-291。3.本社，〈刘松年画罗汉〉，《故宫文物月刊》，第72期（1989年3月），页1。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。  内容简介（中文）： 刘松年（活动于西元一一七四至一二二四年），钱塘（今浙江杭州）人，居 清波门，俗呼暗门刘。南宋孝宗淳熙间为画院学生，至绍熙年间成为画院待诏。山水人物师张敦礼，而神气清妙，时称绝品。 本院藏画中，有三幅刘松年画罗汉。每幅都署款「开禧丁卯（西元一二○七 年）刘松年画」，笔墨也极接近，应是同时之作。此幅描绘罗汉坐于屏风下，一侍者捧经立于其前。笔力秀劲，傅彩精丽。连布纹、木纹也细绘如?。 尊者柱杖坐，一僧执经问义。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。又刘清波和暗门刘之号。孝宗、光宗和宁宗三朝，任职画院。工画山水、人物，时称绝品。 此轴画一罗汉拄杖而坐，一在家弟子执经问义。罗汉抿嘴，双眼专注，神情生动。罗汉衣上的图案和屏风上的木纹以描绘如真。罗汉身后的屏风，以水墨画芦汀双鹭和秋渚鸳鸯，笔简墨淡，若有蒸岚迷雾，清远虚旷，正是典型的南宋汀渚水鸟画作。(20101015)  内容简介（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)  内容简介（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-. 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.