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乾隆朝清宮十八羅漢唐卡名相解析=An Analysis of The Portraits in The Thangkas of The Eighteen Arhats Made During The Qianlong Reign
Author 何芳 =He, Fang
Source 故宮博物院院刊=Palace Museum Journal
Volumen.4
Date2003
Pages45 - 58
Publisher紫禁城出版社
Publisher Url http://www.culturefc.cn/index/product.jhtml?act=index
Location北京, 中國 [Beijing, China]
Content type期刊論文=Journal Article
Language中文=Chinese
Keyword十六、十八羅漢=the Sixteen/Eighteen Arthats; 同文一統=tongwen yun tong; 阿哩噶哩字名稱=images of aligeli writings; 圖像學=Iconography; 繪畫=Painting; 唐卡=Tangka=Thangka; 佛教藝術=Buddhist Art; 清代佛教=Qing Buddhism=Ch'ing Buddhism
Abstract藏、漢兩地佛教經典,及佛學之傳播,直承印度晚出之大乘佛學,但羅漢信仰卻在兩地佛教中,均占一席之地,尤其是漢藏兩均家喻戶曉的十六羅漢(後演繹成十八羅漢),不僅與佛和菩薩一樣,成信徒崇拜的對象,以之為題材的繪塑作品,更廣泛流傳,及至帝廷內苑亦多有供奉收藏。清乾隆時,為安攘蒙藏勢力,而極力推崇藏傳佛教,此信仰尤以官中為盛,帝室庋藏、繪製及供奉有大量藏風濃郁的,是十六或十八羅漢唐卡組畫,其名稱、圖像特徵、排列順序,乃至繪畫風格等,是與清宮密藏的內地各派羅漢,大規模系統化與規範化的同時,也涉及了漢藏兩地十分流行的十六、十八羅漢圖像標準。

The dissemination of Buddhist classics and Buddhist study in Han China and Tibet followed that of the Mahayanist study from India. But the belief in Arhat plays an important role in Buddhism in both trgioms, especially the belief in the Sixteen Arhats (later on the Eighteen Arhats), who had been equally worshipped with Buddha and Bodhisattvas and became a popular motif in painting and sculpture that occupies a large part of imperial collection. during the Qianlong reign the Tibetan Buddhism became the national religion in order to keep the Tibetan and Mongolian powers under contral. It was particularly popular in the palace where a large number of Tibetan - style thangkas of the Sixteen or Eighteen Arhats were painted, collected and enshrined. These paintings are somehow different from those in the earlier imperial collection in title, iconography, but in the making og the standards of the Eighteen Arhats charactrtistic of the Qianlong reign.
Table of contents一、十六羅漢的信仰與繪畫 45
二、乾隆時期十八羅漢唐卡的名稱與畫像 49
三、小節 56
ISSN04527402 (P); 04527402 (E)
Hits439
Created date2004.04.16
Modified date2019.09.17



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