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宋勾龍爽佛像 軸
基本資訊
- 原始資料連結
- 資料來源
- 主題分類
- 建檔單位
- 作者勾龍爽,Gou Longshuang
- 色彩淺設色
- 裝裱形式軸
- 數量一軸
- 集叢號-類型單件
- 典藏尺寸本幅@#@51.5x31.4@#@@#@全幅@#@210x45.2
- 質地本幅@#@紙
- 題跋資料題跋@#@宋徽宗@#@本幅@#@楷書@#@勾龍爽妙筆。
- 印記資料收傳印記@#@白雲堂藏@#@@#@收傳印記@#@涇縣朱𤦽珍藏
- 主題主要主題@#@佛道人物@#@僧（和尚、尼姑）@#@和尚@#@@#@其他主題@#@器用@#@宗教器用@#@權杖
- 技法白描@#@@#@人物衣紋描法(勻稱線條)
- 參考資料收藏著錄@#@黃君璧先生捐贈文物特展目錄，頁7-8、43-44 @#@@#@參考書目@#@1.李玉珉，〈宋勾龍爽佛像〉，收入李玉珉主編，《羅漢畫》（臺北：國立故宮博物院，1990年初版），頁74。 @#@@#@內容簡介（中文）@#@勾龍爽，神宗時（西元一０六七至一０八五年）為圖畫院祇候，蜀（四川）人。好丹青，善作古人物，其狀質野。觀之如鼎彝間見三代以前篆書，便覺近習為凡陋。工畫佛道人物，善為古體衣冠，精裁緻密，為一代奇筆。畫中二僧，前捧經卷，後持鍚杖。按佛教來自印度，故僧像帶有異國人物造形，所謂胡貌梵相，具羅漢特色。畫家更常賦與不食人間煙火情態，因此，清、奇、古、怪每多出於畫面，本幅亦作如此手法。此畫為黃君璧先生捐贈。@#@@#@內容簡介（英文）@#@Kou Lung-shuang was a native of Shu (Szechwan) and achieved the rank of chih-hou (Usher) in the Painting Academy during the reign of the Emperor Shen-tsung (r. 1067-1085). He excelled at depicting figures that appear archaic and uncultivated. Gazing at them is like looking at the archaic beauty of seal-style script on ancient bronzes, making one feel that contemporary styles are inferior. Kou Lung-shuang excelled at painting Buddhist and Taoist figures; particularly archaic-1ooking bodies, clothes, and crowns, which all appear as if incised and tightly knit. In this painting are two monks; the one in front holds a sutra and the other carries a tin staff. Buddhism came to China from India, so it is not surprising to see these monks as non-native Chinese. The so-called " Cental Asian and Indian appearances" are special features of lohans. Painters often bestowed upon them an air of reclusion. As a result, the purity, eccentricism, archaism, and peculiarity of lohans were repatedly depicted in paintings such as this. This painting was donated to the Museum by Mr. Huang Chun-pi.
- 地圖
引用資訊
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