书体:

色彩:

设色

装裱形式:

轴

创作时间:

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：宝笈三编
鑑藏宝玺：宣统御览之宝
鑑藏宝玺：宣统鑑赏
鑑藏宝玺：无逸斋精鑑玺
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
收传印记：皇明姻室怀柏清玩
收传印记：神品
收传印记：珍玩（存半。重一）
收传印记：乾坤清玩
收传印记：墨林甫
收传印记：子京父印
收传印记：项墨林父祕笈之印
收传印记：王翬之印
收传印记：（一印漫漶）

题跋资料:

题跋类别：题跋；作者： ；题跋位置：本幅；款识：无；书体：楷书；全文：学士。太学博士。吴郡陆元朗。字德明。年六十七。赞曰。儒行为贵。玄风可师。博学非远。离经在兹。学士。太学博士。鲁国孔颖达。字仲达。年五十六。赞曰。道光列第。风传阙里。□（原阙。按刘松年唐十八学士卷。当是精字。）义霞开。谈词风焱起。学士。兼主簿。陇西李元道。字元□（原阙。按十八学士卷。当作易字。）年四十九。赞曰。抑扬物范。昭晰风格。业擅专门。名高重席。学士。陕东道大行台考功郎中兼记室。上柱国临淄侯。清河房乔。字玄龄。年四十七。赞曰。当年励节。奉上忘身。才兼□□（原阙。按十八学士卷。当是藻翰二字）思入机神。学士。典籤。武功苏勗。年二十四。赞曰。业敏游艺。莅事躬勤。书传猷□。□（原阙。按十八学士卷。当是素画二字）美丹青。

主题:

主要主题：人物高士（士人、隐士） 主要主题：经史‧故事 唐五学士；其他主题：人物侍从（侍女、童仆） ；其他主题：树木松 ；其他主题：树木棕榈 ；其他主题：树木竹 ；其他主题：花草芙蓉 ；其他主题：花草灵芝 ；其他主题：建筑栏杆 ；其他主题：器用家俱（屏风） ；其他主题：器用文房用具 ；其他主题：建筑庭院 ；其他主题：器用花器 ；其他主题：器用文玩（琴棋书画） 

技法:

工笔 界画 人物衣纹描法(匀称线条) 

参考资料:

收藏着录： 石渠宝笈三编（干清宫），页498 收藏着录： 故宫书画录（卷五），第三册，页86-87 收藏着录： 故宫书画图录，第二册，页117-118 内容简介（中文）： 刘松年（活动于西元1174─1224年），浙江钱塘人。居清波门，俗呼刘清波，又呼暗门刘。为南宋孝宗淳熙年画院学生，绍熙年待诏。工画人物、山水。师法张敦礼，神气精妙，名过于师。此画唐学士陆元朗、孔颖达、李玄道、房玄龄、苏勖燕居文会情景。按五人皆为秦府十八学士中人，与院藏刘松年唐十八学士卷第三段人物布景均同，而笔墨之精练略不如原图，或有四幅，今仅存一。 内容简介（英文）： Liu Sung-nien was a native of Hangchou, Chekiang, where he lived at the Ch'ing-p'o Gate. He was thus known as Liu Ch'ing-p'o or An-men Liu. He entered the Painting Academy during the Ch'ung-hsi period (1174-1194) and eventually served as a Painter-in-Attendance. He painted both figures and landscapes, modeling himself on Chang Tun-li. Liu's paintings had great spirit, and his fame surpassed that of his master.This painting is a depiction of the T'ang scholars Lu Yüan-lang, K'ung Ying-ta, Li Hsü-tao, Fang Hsüan-ling, and Su Hsü at a literary gathering. They were among the “Eighteen Scholars of the House of Ch'in” who attended the Prince of Ch'in before he became emperor (Emperor T'ai-tsung of the T'ang dynasty). One suspects that originally there were four such paintings of which this is the only one surviving. In the Museum collection there is a handscroll attributed to Liu Sung-nien depicting the “Eighteen Scholars of the T'ang dynasty” in which the figures and setting of the third section are similar to this work, though the brushwork is quite different.