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：山水奇石 ；其他主题：山水江河、湖海 ；其他主题：佛道人物供养人蛮王

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107-108  参考书目： 1.李玉珉，〈行走于蒙元的艺廊里 — 「大汗的世纪」特展 宋刘松年画罗汉〉，《故宫文物月刊》，第225期（2001年12月），页17-18。2.《刘松年画罗汉》（台北：国立故宫博物院，1980）。3.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。4.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。5.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）： 尊者背坐石壁，袒右肩，跣足。蛮王持献宝盆。款同前。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，绍熙年待诏。山水、人物师张敦礼，而神气清妙，过于其师，时称绝品。此轴画一罗汉持竿坐石，一蛮王手捧珊瑚、宝珠供养。张敦礼的山水师法李唐，故此帧罗汉身后的山石用小斧襞皴层层皴染，短截劲健的用笔和沉郁的墨色将山石坚硬的质感一表无遗，依稀可见李唐画风的影响。画中的罗汉斜视蛮王，张口而喝，生活气息浓郁。(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. In landscapes and figures, he studied after Zhang Dunli, achieving a spirited and marvelous quality surpassing that of his teacher to create unparalleled works praised at the time.This painting depicts a Buddhist lohan holding a cane as he sits on a rock. A foreign king appears before him holding an offering of coral and jewels. In landscapes Zhang Dunli followed the methods of Li Tang, thereby accounting for the layers of textured washes in small “axe-cut” strokes for the rock and landscape elements. The short, choppy strokes of the vigorous brushwork and the dark ink tones bring out all the toughness of the rock forms, the influence of Li Tang’s style still faintly visible here. The lohan here glances to the side at the king, his mouth agape as if to say something, thus breathing more life into this scene.(20101015)  内容简介（英文）： The lohan sits with his back to a rock. His right shoulder is bare, and he has removed his shoes. A barbarian King offers him a dish of flaming jewels. The signature is identical to that on the first 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. 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. In all three of the Liu Sung-nien paintings. “Nei Fu Shu Hua” is at the upper left. “Huang Chieh T'u Shu” is at the upper left under “Nei Fu Shu Hua” in the first scroll and at the upper right on the second and third scrolls. From this we can conclude that “Nei Fu Shu Hua” always appears in the same position on the painting, whereas the position of “Huang Chieh T'u Shu” is variable. We can also assume that “Nei Fu Shu Hua” is earlier than “Hunag Chieh T'u Shu”. Therefore, the “Nei Fu Shu Hua” seal must have been affixed to Liu Sung-nien's paintings between 1207(the date of execution) and 1295 (the date of the “Huang Chieh T'u Shu” seal; cf. No. 74), and it is very possibly a seal of Ning-tsung(r.1194-1224).