书体:

色彩:

浅设色

装裱形式:

轴

创作时间:

宋宁宗嘉定2年（1210）

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：嘉庆御览之宝
鑑藏宝玺：嘉庆鑑赏
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：宝笈三编
鑑藏宝玺：三希堂精鑑玺
鑑藏宝玺：宜子孙
鑑藏宝玺：宣统御览之宝
收传印记：真赏
收传印记：珍秘
收传印记：宜尔子孙
收传印记：公
收传印记：信公珍赏
收传印记：都尉耿信公书画之印
收传印记：琴书堂
鑑藏宝玺：丹诚
收传印记：耿会侯鑑定书画之章
收传印记：安及忠印
收传印记：（一印不可辨）

题跋资料:

题跋类别：作者款识；作者：刘松年本幅（坡石上）嘉定庚午（西元一二一○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：长松之下坐颓仙。草圣挥看落纸烟。生面别开神髄合。石渠聫璧有龙眠。乙未仲春中澣御题。

题跋类别：题跋；作者： ；题跋位置：本幅；款识：无；书体：行书；全文：人人送酒不曾沽。每日松间挂一壶。草圣欲来狂便发。真堪画作醉僧图。

主题:

其他主题：人物侍从（侍女、童仆） 主要主题：佛道人物僧（和尚、尼姑）怀素；其他主题：器用文房用具笔墨纸砚；其他主题：树木松 

技法:

人物衣纹描法(粗细线条) 皴法 

参考资料:

收藏着录： 石渠宝笈三编（延春阁），第三册，页1501 收藏着录： 故宫书画录（卷五），第三册，页89-90 收藏着录： 墨缘汇观 收藏着录： 故宫书画图录，第二册，页109-110 参考书目： 1.李霖灿，〈刘松年的撵茶图与醉僧图〉，《故宫文物月刊》，第23期（1985年2月），页69-71。2.李霖灿，〈刘松年的醉僧图〉，《故宫季刊》，第四卷第一期（1969年7月），页31-39。 内容简介（中文）： 刘松年（西元1190至1230年前后）浙江钱塘人，居清波门外，因此别人称他为刘清波，又呼暗门刘。为南宋孝宗淳熙年画院学生，绍熙年待诏，善画人物山水，师法张敦礼，神气精妙，青出于蓝。画松树干上系一葫芦。一童子替僧人伸纸。一童捧砚台。一僧人袒肩坐在石上写字。署款、嘉定庚午刘松年画，写于坡石上。全幅画人物神情、树干、小草都充满了古朴自然的趣味。 内容简介（中文）： 一僧人袒肩坐在石上写字；旁一童子帮忙伸纸一童捧砚台，松树干上系一葫芦。唐僧怀素，以草书名天下，醉后狂草纵横不羁，本幅应是描绘怀素醉后挥毫情景。近景坡石上有「嘉定庚午（西元一二一0）刘松年画」署款，刘松年为南宋孝宗、宁宗时画院画家，善画人物山水。本幅近景坡石下绘人物，线条细劲，衣纹转折方折，风格与院藏刘松年名作〈画罗汉〉相类，唯不若精谨细致，成画年代应较晚。 内容简介（英文）： A monk with his shoulder exposed sits on a stone and writes with a brush. An attendant holds the scroll as the other grinds ink. His gourd is tied to the trunk of the pine. The Tang monk Huaisu was renowned for cursive script, and when drunk would do unbridled wild cursive. Thus, this work might depict him wielding the brush when drunk. The area in front is inscribed, “Painted by Liu Songnian in the gengwu year of Jiading (1210).” Liu was a Painter-in-Attendance at the Painting Academy under Emperors Xiaozong and Ningzong, and he excelled at figures and landscapes. The figure lines here are fine and taut, while those for the drapery are angular, similar to the Museum’s “Lohan” paintings by Liu, but not quite as fine, suggesting a slightly later date. 内容简介（英文）： A monk, in his monastic garment with one shoulder bare, sits on a rock doing calligrarhy. From the trunk of a pine tree hangs a bottle gourd. A servant spreads his writing paper, while another holds his ink stone. A rocky bank is inscribed with the painter's signature and the date 1210. All the figures are painted with great spirit; the tree trunks and grasses are replete with an antique simplicity and a naturalistic flavor. Liu Sung-nien, came from Ch'ien-t'ang in Chekiang. He lived outside the Ch'ing-po Gate of Hangchow, and was therefor called "Liu of Ch'ing-po" and " Liu of the Dark Gate." Durung the Ch'un-hsi era (1174-1189) of the reign of the Southern Sung emperor Hsiao-tsung, he was a student in the Imperial Academy of Painting, and he served as a Painter-in-Attendance during the period 1190-1195. He was an excellent painter of landscapes and figures, which he learned from Chang Tun-li.The exquisite spirit of Liu's paintings eventually surpassed that of his mentor.