[{"data":1,"prerenderedAt":60},["ShallowReactive",2],{"artwork-hua-luo-han-zhou-liu-song-nian-221546":3},{"id":4,"slug":5,"title":6,"dynasty":7,"author":8,"museum":9,"description":10,"tags":11,"thumbUrl":25,"material":26,"size":27,"collection":28,"collections":29,"showCount":30,"zanCount":31,"manualWeight":31,"mainColor":32,"tagLinks":33},221546,"hua-luo-han-zhou-liu-song-nian-221546","画罗汉轴","宋","刘松年","台北故宫博物院","本院藏画中，有三幅刘松年画罗汉，每幅都款署「开禧丁卯（1207）刘松年画」，此轴即为其中之一。幅中罗汉浓眉高鼻，貌若印度高僧，身著右袒式袈裟，倚树沈思。身侧随侍的和尚以衣袂承接树上长臂猿所摘之石榴，身前尚有二鹿仰观，画面生动。此罗汉脸上满布皱纹，双眉蹙起，神情专注，栩栩如生。全作用笔变化多端，衣纹流畅罗汉头後的圆光，及三树枝柯掩映，层次分明。全画敷色妍丽，繁缛精美，皆臻绝纱。\n此画风格属于刘松年工整细润一路，是他晚年成熟的作品。画中人物用铁线描绘而成，线条流畅有力。服饰与面部均刻画得极其精细，用笔沉着稳健，神形兼备。画中罗汉与小和尚的僧袍色彩在多样变化中求得协调和统一，树木与山石注重写实。特别是树石的用笔，勾勒与皴擦，墨色浓淡相间，充分表现出了树干与山石的坚硬质感与体积感。枯树满身结疤和苍老坚硬的枝条与后面一棵枝叶浓密的树形成强烈对照，表现出了大自然所蕴涵的无限生机。浓密的枯枝与树叶衬托出疏朗的人物，形成疏密的对比，使人物形象在画中十分突出。此幅作品称得上是山水画和人物画完美结合的成功之作。\n这幅《罗汉图》虽然取自佛教题材，实际上已有着明显的世俗化的倾向。在意境表现上，画家通过对山石树木等自然景物的精心布置和渲染，营造出一个草木丰茂、秋清气爽、山果飘香的画境。罗汉与小和尚置身其境，神情悠然自得，营造了人与自然、人与动物之间互相依存的祥和气氛。\n另外，这幅《罗汉图》在艺术处理上吸取了佛教壁画在佛像头部画上佛光的方法，其表现手法是十分高超的。罗汉头像的佛光就如聚光灯一般，如雾如纱。朦胧中一组树枝隐约可见，使画面的虚实对比更加强烈",[12,13,14,15,16,17,18,19,20,21,22,23,24],"高清","名画","国画","书画","立轴","宗教","工笔","设色","人物","界画","芭蕉","拐杖","童子","https:\u002F\u002Foss.chuangqi.store\u002Fthumbweb\u002F0035ad35ba239ec50313d885cbecae1d.jpg","绢本","纵117厘米横55.8厘米","",[],18,0,"BDBDBD",[34,36,38,40,42,44,46,48,50,52,54,56,58],{"name":12,"slug":35},"gao-qing",{"name":13,"slug":37},"ming-hua",{"name":14,"slug":39},"guo-hua",{"name":15,"slug":41},"shu-hua",{"name":16,"slug":43},"li-zhou",{"name":17,"slug":45},"zong-jiao",{"name":18,"slug":47},"gong-bi",{"name":19,"slug":49},"she-se",{"name":20,"slug":51},"ren-wu",{"name":21,"slug":53},"jie-hua",{"name":22,"slug":55},"ba-jiao",{"name":23,"slug":57},"guai-zhang",{"name":24,"slug":59},"tong-zi",1777535419981]