旧传李嵩佛道人物画《罗汉图》超高清大图

作品简介

宋李嵩画罗汉，轴，李嵩，本幅104x49.5厘米，绢本，台北故宫博物院藏。

本幅绘一罗汉，须发尽白，双目有神，手拄竹杖，坐于禅床之上。身侧有二位随侍，一位捻香，另一位备花，状甚恭敬。全作赋色妍丽，除了山石皴笔外，俱用中锋钩勒，用笔苍劲而流畅。柳叶藤枝，运转若神。无款印，旧传为李嵩(一一九O─一二三O年)之作，但从画风观之，可能出自元代画家之手。李嵩，钱塘(今浙江杭州)人。光、宁、理宗三朝画院待诏，工画道释人物。

李嵩(1190至1230年)，钱塘(今浙江杭州)人。李从训养子，光、宁、理。三朝画院待诏，工画道释人物，得其义父遗意，尤长界画。本幅除山石皴笔外，俱用中锋钩勒，笔苍劲而流畅。柳叶藤枝，真力充沛，运转若神。佛画中每多佳作，此则其尤者也。

Li Sung was a native of Ch’ien-t’ang, Chekiang. In this painting, a lohan is holding a bamboo cane and sitting on a monk’s chair (used for meditation). The back of the chair is covered with a brocaded cloth. Although the lohan’s hair has turned white and his body weakened, his eyes still are spirited ; he is shown as if deep in thought. In the foreground are two attendants, one preparing a goblet and the other a basket of flowers as an offering. Following in the tradition of early Buddhist painting, the coloring is opulent and the brushwork refined. This exceptionally delicate work is traditional attributed to Li Sung, but it may be the work of a professional Yuan dynasty (1279-1368) master. The incense stand with six legs, railing and lotus-petal base forms a set with the monk’s chair. The decorative bronze waist serves the purpose of strengthening the piece. The top of the stand is in the shape of an altar with a platform surrounded by a balustrade. The waist at the center and the base frame are decorated with bronze floral designs.

This painting shows a lohan whose hair has turned white as he stares out with spirit. He leans on a bamboo cane and sits on a monk’s (meditation) chair. He has two attendants-one holds an incense holder and the other is preparing flowers. The coloring is beautiful. Except for the texture strokes of the slope, the work was done in outlines using a centered brush. The brushwork is forceful yet fluid. The willow leaves and trailing vines all twist and turn. Although it does not have the signature or seal of the artist, it has been attributed to Li Sung. However, judging from style, it probably came from the hand of a yuan (1279-1368) artist. Li Sung served as a Painter-in-Attendance who specialized in Buddhist figures and the ruled-line style.

罗汉又称阿罗汉，是指佛教修行的一个境界，达到这一个境界的修行人，将永远不会再轮回转世。这幅作品画一位罗汉，两手拄握著一根竹杖，坐在一张禅床上。身侧有两位随侍，一位正在捻香，另一位在整理花蓝。这位罗汉的头发、眉毛和胡髭都已变白，两眼望著前方，嘴角下抑，神情生动。人物衣纹流畅，用笔又苍劲有力。无论是罗汉身后垂杨的繁密树叶，或是罗汉所坐的禅床和身前的六足莲瓣座香几上的装饰，都画得极为精谨细致。是本院所藏道释人物画中的一件佳作。 这件画轴没有作者的款印，根据题签，过去称它为李嵩(1190-1230)的作品。李嵩，钱塘(今浙江杭州)人，曾任南宋光、宁、理宗三朝的画院待诏，工画道释人物和界画。可是，从画风看来，这幅罗汉可能出自元代画家之手。

Lohan is the Chinese term for arhat, which is used to describe a disciple of Buddhism who achieved a certain level of cultivation and escaped from the cycle of birth and rebirth. The lohan shown here is leaning on a bamboo cane with both hands and is sitting on a meditation seat. He has two attendants--one holds an incense holder and the other prepares a basket of flowers. His hair has turned white and he stares forward with a solemn expression. The drapery lines flow with grace yet strength. The use of brushwork in this painting is exceptionally refined, as seen in the clusters of drooping willow leaves above and the decoration of the seat and stand next to the lohan, making this is one of the masterpieces of Buddhist and Taoist figure paintings in the Museum collection. Although this painting bears no signature or seal of the artist, it has been attributed in the title slip to Li Sung, who served as a Painter-in-Attendance at the Southern Sung court between 1190 and 1230 and specialized in Buddhist and Taoist figures as well as the ruled-line style of painting. However, judging from style, this work probably came from the hand of a Yuan dynasty (1279-1368) artist.

技法

人物衣纹描法(粗细线条) 、工笔。

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