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緣異法同：論徐揚、莊豫德、夏荊山名下的同源羅漢畫作=Variations of the same Teaching: On the shared Origin of Arhat Paintings by Xu Yang, Zhuang Yu-De, and Xia Jing Shan |
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| Author |
王崇齊 (著)=Wang, Chong-ci (au.)
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| Source |
夏荊山藝術論衡=Journal of Xia Jing Shan's Art
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| Volume | n.12 |
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| Date | 2021.09 |
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| Publisher | 財團法人夏荊山文化藝術基金會 |
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| Publisher Url |
http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者單位：東吳大學歷史學系兼任助理教授 |
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| Keyword | 羅漢=Arhats; 徐揚=Xu Yang; 莊豫德=Zhuang Yu-De; 姚文瀚=Yao Wen-Han; 夏荊山=Xia Jing Shan |
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| Abstract | 夏荊山先生精詣於佛事與繪事，因此，以佛、菩薩、羅漢為主的人物畫作，可說是最為人所注目的部分，數量也相當龐大。僅以羅漢畫而言，也頗為可觀，正以夏荊山先生所見多，取法廣，因此羅漢畫的面貌也相當多元，實值得從鉅觀和微觀分別研究。在此，擬先藉由清代畫家姚文瀚的一幅羅漢為引，討論其圖像已經添改的可能性，從而突顯出藏式羅漢的特色，實相當注重法器與手印的規矩，準此，便可在更鉅觀的角度上，認知到夏荊山先生見聞雖廣，而其羅漢畫作還是以漢傳佛教為主，並有著濃厚的文人關懷。再由微觀而言，夏荊山的一套羅漢畫作圖式，實與清代宮廷畫家徐揚名下的羅漢圖相當近似，又與同屬清代宮廷畫家的莊豫德名下羅漢畫作有相當淵源，他們三者的構圖皆可上溯至一套貫休名下的羅漢作品。透過考察，可以釐清三家羅漢畫作的基礎資料，使我們對作品的掌握更為堅實。復又進一步對三家羅漢畫作比較，可以清楚這三人名下同源畫作的不同表現，一方面是時代所致，承載著畫家所處時空的追求，其實，也指向了同樣的宗教追求，可謂緣異而法同。
Xia Jing Shan specialized in Buddhism and painting, and his prolific portraits of Buddha, bodhisattvas, and arhats are especially recognized. Arthats portraits alone take up a considerable amount of in his oeuvre, and because Xia was a man of broad experiences and was extensively learned, his arhats paintings are, therefore, quite diverse and worthy to be studied through both macro and micro perspectives. Bearing this in mind, this paper intends to begin with a collection of arhat paintings by Qing dynasty artist Yao Wen-Han to examine possible enhancements and alterations made to the images to highlight the notable features of Tibetan-style arhats, with particular attention placed on the specifications of the Dharma instruments and mudras. Based on a macro perspective, it is observed that although Xia was a man of broad experiences, his arhat paintings, nevertheless, adhered to the traditions of Han Chinese Buddhism and also project rich literati sentiments. On the other hand, based on a micro perspective, the specifications followed by Xia on his arhat paintings shared similarities with the arhats painted by Xu Yang, who was a court painter in the Qing dynasty, with associations also observed with arthat paintings by Zhuang Yu-De, another Qing court painter. The three of them also inherited the compositional details on arthat paintings by Buddhist monk and painter, Guanxiu. Preliminary analyses on the arhat paintings by the three artists are executed through research, which gives us concrete insights on the artworks. With further comparisons done on the arhat paintings by the three masters, differences between their artworks of the same subjects are pointed out. The differences were partly the results of their respective zeitgeists, with each artist’s specific pursuit driven by the particular spatial and temporal setting he was in. However, it is also observed that they shared a similar religious pursuit, demonstrating different pratyaya (conviction, reliance) with shared dharma (doctrine, universal truth). |
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| Table of contents | 一、緒論 55
二、清代姚文瀚所繪〈第十一尊者〉 61
二、同源所出的羅漢畫作 66
三、畫作的風格特色 72
四、餘論：聖凡之間的羅漢畫 77
引用書目 80
附表一 82
圖版 84
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| ISSN | 24126233 (P) |
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| Hits | 144 |
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| Created date | 2022.08.04 |
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| Modified date | 2022.08.08 |
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