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初探夏荊山〈羅漢圖〉的藝術特徵 — 兼論佛畫畫樣的幾種傳演方式=A Preliminary Study of Xia Jing Shan’s Arhat Paintings and the Transmission and Adaptation of Buddhist Painting Models
Author 何嘉誼 (著)=Ho Ka-Yi (au.)
Source 夏荊山藝術論衡=Journal of Xia Jing Shan's Art
Pages69 - 96
Publisher Url
Location臺北市, 臺灣 [Taipei shih, Taiwan]
Content type期刊論文=Journal Article
Assistant Professor, Department of Fine Arts, The Chinese University of Hong Kong
Keyword夏荊山=Xia Jing Shan; 羅漢圖=Arhat painting; 畫樣=painting model

Xia Jing Shan’s profound knowledge of ancient Chinese Buddhist paintings is evidenced by the abundant amount of his copies and adaptations of paintings of Bodhisattvas, Avalokiteśvara, Arhats, and Zhong kui from the Song through the Qing periods. This article analyzes Xia Jing Shan’s Arhat paintings to discern the origins of his Arhat motifs and his modes of copying, imitating, and transforming ancient painting models. In terms of the artistic characteristics of Xia’s Arhat paintings, their meticulous representation and lavished colors are closer to that of his paintings of Buddhas and Bodhisattvas than his paintings of Avalokiteśvara, Bodhidharma, and Zhong kui, which feature untrammeled brushwork and extraordinary atmosphere. The latter part of the article uses examples of the transmission and adaptation of hand-painted or woodblock-printed Buddhist painting models in China, especially during the Ming and Qing periods, to demonstrate that Xia Jing Shan inherited this painting method from ancient masters.
Table of contents壹、初探夏荊山的創作手法及其〈羅漢圖〉的藝術特徵 71
貳、中國佛畫的幾種傳演模式 75
一、手描畫樣 75
二、木刻版畫畫樣 76
(一)水陸畫畫樣 76
(二)佛傳故事插圖 77
(三)畫譜、類書插圖 78
(四)觀音圖像繪本、刻本、拓本 80
參、小結 82
ISSN24126233 (P)
Created date2021.04.08
Modified date2021.04.08

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