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| 著者 |
陳清香
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| 掲載誌 |
華岡佛學學報=Hwakang Buddhist Journal
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| 巻号 | n.8 |
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| 出版年月日 | 1985.10 |
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| ページ | 283 - 308 |
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| 出版者 | 中華學術院佛學研究所 |
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| 出版サイト |
http://www.chibs.edu.tw/
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| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| キーワード | 羅漢畫; 元代; 佛教藝術=Buddhist Art |
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| 抄録 | 元代在道釋人物畫壇上，一向被認為是衰落的時代，尤
其是其中的羅漢畫更是式微. 但從今日流傳於日本，歐美
，及國內的畫蹟看來，元代的羅漢畫風實屬多彩多姿. 在用
筆上，它繼承了南宋以來的各派畫風，而卻有融合各家的趨
勢. 在布局上，它打破以往既定的式樣，而有突出的結構.
在面貌上，又好以寫實手法應真像，而現出西天梵相的影子
. 為彌補傳統畫史記載之不足，本文首先列敘元代畫史所列
畫家，再補進今日有畫蹟流傳而畫史未載的畫人姓名. 其次
，再依現存畫蹟風格及傳承，而將元代羅漢畫分成白描畫系
統，禪餘水墨畫系統，寧波職業畫派，院體畫派，西天梵相
式等派系. 並列舉收藏於台北故宮博物院，京都博物院，東
京博物館，京都相國寺，龍光院，東海庵，東京靜嘉堂，千
葉法華經寺，美國波士頓美術館，及一些私家收藏等處的
羅漢畫為例證. 由這些例證可知，元代畫壇雖不受朝延鼓勵
，但元代的羅漢畫卻相當可觀，有其特殊之風格.
Yuan dynasty paintings of Buddhist and Taoist
figures, especially Lohan depictions, have always
been regarded as representing an epoch of decay. But
taking a look at those paintings which are now
scattered in Japanese，European，American，and
Chinese collections we realize that Yuan Lohan
paintings actually showed a lively variety of style.
In terms of technique，they continued the different
styles of Southern Sung painting schools while
displaying the tendency to blend them. As to
arrangement，they overcame traditionally established
forms and succeeded in developing remarkable
structures. And concerning the execution of the
figures, they were fond of depicting them
realistically as Indians.
In order to amend the incomplete records of the
traditional history of Chinese painting the present
paper first lists the painters enumerated in the
works dealing with the history of Yuan painting，and
then introduces those artists whose works have come
down to us but who are not mentioned in the
literature. Next the extant Yuan dynasty Lohan
paintings are，according to style and lineage,
divided into schools like the black and white
contour painting tradition，the tradition of
painting with ink and water besides practicing ch'an
，the vocational painting school of Ning-po，the
school of "academic" painting，the Indian form etc.
Lohan paintings presently kept at the Palace Museum,
Taipei，the `Kyoto` and `Tokyo` Museums, the
`Shokoku-ji`，`Lyuko-in`，and in `Tokai-an` in
`Kyoto`，the `Seika-do` and Tsiba `Hokkekyo-ji` in
`Tokyo`，the Boston Museum of Fine Arts, and some
private collections are adducted to illustrate these
categories and to collaborate their validity. They
prove that，though painting was not encouraged by
the Yuan court，the Lohan depictions of that time
with their peculiar style cannot be neglected. |
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| 目次 | 一、前 言 285
二、元代的羅漢畫家 286
三、白描畫系統的羅漢畫 289
（1）劉貫道畫羅漢圖 290
（2）京都博物館藏「羅漢圖」 291
（3）傳任仁發筆羅漢圖 291
（4）曇芳守忠贊白描十八羅圖 292
（5）了庵清欲贊「蘆葉達摩圖」 294
四、禪餘水墨系統的羅漢畫 295
（1）因陀羅「五祖再來圖」 296
（2）雪庵的羅漢圖 297
五、寧波派的羅漢畫 300
（1）陸信忠筆十六羅漢圖 300
（2）趙璚筆十六羅漢圖 302
六、院體派風的羅漢畫 303
（1）「元人宣梵雨花圖」 303
（2）元人應真參妙圖 304
七、西天梵相的羅漢畫 305
（1）東海庵本十六羅漢圖 306
（2）蔡山筆竹羅漢圖 307
八、結論 308
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| 研究種類 | 繪畫 |
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| 研究年代 | 元代 |
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| 研究地域 | 中國 |
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| ヒット数 | 1275 |
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| 作成日 | 1998.07.22
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| 更新日期 | 2017.08.22 |
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