羅漢圖像研究

陳清香

Author

陳清香

Source

華岡佛學學報=Hwakang Buddhist Journal

Volume

n.4

Date

1980.10

Pages

307 - 358

Publisher

中華學術院佛學研究所

Publisher Url

http://www.chibs.edu.tw/

Location

臺北市, 臺灣 [Taipei shih, Taiwan]

Content type

期刊論文=Journal Article

Language

中文=Chinese

Keyword

阿羅漢; 佛教藝術=Buddhist Art; 羅漢圖像; 迦葉; 阿難; 莫高窟; 貫休; 十八羅漢

Abstract

羅漢像為中國佛教美術創作的重要提材之一. 就如佛像
，菩薩像，佛經變相一般，流傳很廣，表現的方式以繪畫和
彫塑為最普遍. 就歷代創作的風格演變看來，中國早在南北
朝時代便已開始了，可謂源遠流長，在隋唐三百年左右中，
羅漢像一直屬於其他佛教美術題材的陪襯地位，唐末五代以
後，才漸獨立起來，到了宋代是羅漢圖像創作的黃金時代
，無論繪畫或彫塑均趨於極盛，造形生動，風格特殊，充份
表現出宋代中國文人的高雅氣質，這在羅漢繪畫中，尤能看
出宋元文人畫的另一出塵創作. 本文僅先探討羅漢的含義，
人數，姓名並舉出唐宋二個大時代中，羅漢彫塑及繪畫的遺
跡，備述其風格流變，時代特徵. 首先引述諸經中對羅漢的
闡述.

Arhat images belong to the major creations of
Chinese Buddhist artists. Usually in the form of
painting or sculpture，they were popular like Buddha
and Bodhisattva images or the pictorial
representations of stories from `sutras`. During
their long history，Arhat images underwent some
changes. Their origins can be traced back as far as
the Northern and Southern Dynasties (420-640 A.D.),
but during the Sui and T'ang Dynasties (581-907
A.D.) they still served only as background of other
Buddhist works of art. It was only after the late
T'ang and the Five Dynasties (907-960 A.D.) that
they gradually became independent，and by the Sung
Dynasty (960-1279 A.D.)，the creation of Arhat
images, paintings and sculptures alike，finally
reached its Golden Age，vivid representations and
unique style giving full expression to the
refinement of Sung literate. Arhat images constitute
a transcending genre among the paintings of Sung and
Yuan (1206-1404 A.D.) literate.

In this paper，the author first discusses
meaning，number and names of the Arhats, and then
describes the changing styles and peculiarities of
the extant Arhat images of both the T'ang and Sung
Dynasties.

Table of contents

一、羅漢含義 308
(1) 字面三義 308
(2) 羅漢果位含義 309
二、羅漢的人數 310
三、初期羅漢像的創作 312
四、隋唐時代的迦葉、阿難像 315
(1) 說法圖壁畫中的迦葉阿難 315
(2) 莫高窟隋唐塑作迦葉阿難像 317
(3) 龍門石窟的迦葉阿難像 320
(4) 五臺山佛光寺出土的石造迦葉、阿難像 322
五、盛唐以後的羅漢造像群 323
(1) 看經寺洞浮彫二十九羅漢 325
(2) 涅槃變相中的羅漢 327
六、晚唐五代十六羅漢像的興起 329
七、法住記等所載的十六羅漢 333
八、十六羅漢歷名考 335
九、貫休和他的十六羅漢畫 339
十、十八羅漢之說 342
十一、貫休的羅漢畫蹟及畫風 345
十二、宋代的羅漢畫禪月式及龍眠式 352
十三、結語 358

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