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宋劉松年補衲圖 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者劉松年
- 色彩設色,描金
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@141.9x59.8
- 質地本幅@#@絹
- 題跋資料作者款識@#@劉松年@#@本幅@#@畫院待詔賜金帶劉松年敬繪。@#@@#@題跋@#@清高宗@#@本幅@#@行書@#@應真理線和鐵。慈氏以來補到今。我偶觀圖别有會。仲山衮職念常欽。戊子(西元一七六八年)新正月御題。
- 印記資料鑑藏寶璽@#@乾隆御覽之寶@#@@#@鑑藏寶璽@#@乾隆鑑賞@#@@#@鑑藏寶璽@#@石渠寶笈@#@@#@鑑藏寶璽@#@三希堂精鑑璽@#@@#@鑑藏寶璽@#@宜子孫@#@@#@鑑藏寶璽@#@石渠定鑑@#@@#@鑑藏寶璽@#@寶笈重編@#@@#@鑑藏寶璽@#@乾清宮鑑藏寶@#@@#@鑑藏寶璽@#@太上皇帝之寶@#@@#@鑑藏寶璽@#@嘉慶御覽之寶@#@@#@鑑藏寶璽@#@宣統御覽之寶@#@@#@鑑藏寶璽@#@宣統鑑賞@#@@#@鑑藏寶璽@#@無逸齋精鑑璽@#@@#@收傳印記@#@元明善印@#@@#@收傳印記@#@審定真跡@#@@#@收傳印記@#@吉安吳氏珍藏
- 主題主要主題@#@佛道人物@#@羅漢（應真、尊者）@#@@#@主要主題@#@佛道人物@#@佛道侍者@#@@#@其他主題@#@佛道人物@#@僧（和尚、尼姑）@#@@#@其他主題@#@花草@#@茶花@#@@#@其他主題@#@走獸@#@狗@#@@#@其他主題@#@建築@#@欄杆@#@@#@其他主題@#@器用@#@傢俱（屏風）@#@屏風；坐榻 @#@@#@其他主題@#@器用@#@茶具
- 技法工筆@#@@#@界畫@#@@#@人物衣紋描法(粗細線條)
- 參考資料收藏著錄@#@秘殿珠林續編（乾清宮），頁77 @#@@#@收藏著錄@#@故宮書畫錄（卷五），第三冊，頁89 @#@@#@收藏著錄@#@故宮書畫圖錄，第二冊，頁121-122@#@@#@內容簡介（中文）@#@本幅畫兩名僧人坐於禪榻上，老者正潛心補衣，另一人則抱膝旁觀。屏後，復有侍者二人，佇立捻茶。畫中人物，表情鮮活而自然，衣紋用筆亦流暢有力。惟右下方款署之「畫院待詔賜金帶劉松年敬贈」，及鈐「劉松年印」，疑偽。 劉松年（西元12世紀末），浙江錢塘人，南宋孝宗淳熙間（1174─1189）延入畫院，紹熙間（1190-1194）升為待詔。存世作品以「畫羅漢」三軸最具代表性。若與「補納圖」相較，風格互異，故本幅應係元以後畫家託名而作。@#@@#@內容簡介（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. Nonetheless, 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 Yuan dynasty (1279-1368) or later with an interpolated signature of Liu Sung-nien.
- 地圖
引用資訊
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