书体:

色彩:

设色,描金

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：太上皇帝之宝
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：元明善印
收传印记：审定真迹
收传印记：吉安吴氏珍藏

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：画院待诏赐金带刘松年敬绘。  印记：刘松年印

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：（乾隆戊子御题。诗文不录）印记：干、隆

主题:

主要主题：佛道人物罗汉（应真、尊者） 主要主题：佛道人物佛道侍者 ；其他主题：佛道人物僧（和尚、尼姑） ；其他主题：花草茶花 ；其他主题：走兽狗 ；其他主题：建筑栏杆 ；其他主题：器用家俱（屏风）屏风；坐榻 ；其他主题：器用 茶具

技法:

工笔 界画 人物衣纹描法(粗细线条) 

参考资料:

收藏着录： 秘殿珠林续编（干清宫），页77 收藏着录： 故宫书画录（卷五），第三册，页89 收藏着录： 故宫书画图录，第二册，页121-122 内容简介（中文）： 本幅画两名僧人坐于禅榻上，老者正潜心补衣，另一人则抱膝旁观。屏后，复有侍者二人，伫立捻茶。画中人物，表情鲜活而自然，衣纹用笔亦流畅有力。惟右下方款署之「画院待诏赐金带刘松年敬赠」，及钤「刘松年印」，疑伪。刘松年（西元12世纪末），浙江钱塘人，南宋孝宗淳熙间（1174─1189）延入画院，绍熙间（1190-1194）升为待诏。存世作品以「画罗汉」三轴最具代表性。若与「补纳图」相较，风格互异，故本幅应系元以后画家讬名而作。 内容简介（英文）： 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. theless, 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.