「五百羅漢圖像」研究

陳清香

Author

陳清香

Source

華岡佛學學報=Hwakang Buddhist Journal

Volume

n.5

Date

1981.12

Pages

377 - 421

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

Note

作者為文化大學藝術研究所教授

Keyword

佛教藝術=Buddhist Art; 阿羅漢; 五百羅漢圖像

Abstract

五百羅漢的事蹟雖很早就隨佛教經典而流傳下來，但
是影響美術的創作，卻遲於十六羅漢，可說是出道得相當晚.

自盛唐，中唐時，在石窟或寺壁上一度出現的傳法弟
子或六十羅漢等多體羅漢題材，為五百羅漢創作拉開了序曲
. 五代以後才真正躍登中國佛教美術的舞台，現存最早的遺
例，是屬於五代時期的石窟造像.

兩宋以後羅漢創作邁入輝煌期，無論繪畫或雕塑，五百
羅漢創作均能捕捉羅漢內心的感情和神韻，且融合了禪家的
精神與文學的逸趣，風貌獨特. 明清以後，五百羅漢流於擬
摹和因襲，少有創意，但在藝壇上仍佔相當重要的地位.
本文是繼「羅漢圖像研究」一文後，僅將五百羅漢故
事的源流，含義，及歷代美術發展中，有關五百羅漢的創
作著錄，現存遺蹟的風格特徵等，作一闡述.

The story of the five hundred arhats has been
long handed down together with the Buddhist
scriptures, but its influence with Chinese art came
rather late. Some images of the major disciples or
the sixty arhats were discovered in stone caves and
temple walls in the early and mid-T'ang Dynasty.
That triggered the artistic creation depicting the
five hundred arhats. Only after the Five Dynasties
did works of this kind formally appear on the stage
of Chinese art. The earliest works now existent are
stone cave images made in that period.

During the Sung Dynasty，artistic creation
depicting the arhats reached its peak of glory. All
the works done in that period，including paintings
and sculptures, were capable of capturing the inner
feelings and charm of the arhats, and showing an
integration of the spirit of a Ch'an master and the
quality of a poet. In the Ming and the Ch'ing
Dynasties. the making of arhat images degenerated
into mere imitation of the earlier works, but it
still played an important role in the artistic
world.

This paper is a sequel to "A Study of Arhat
Images" published in No.4 issue of this journal. It
concerns the origin and implication of the story of
the five hundred arhats, the historic records of the
artistic creation of the arhats, and the special
style of the extant works on this subject.

Table of contents

壹、前言 378
貳、五百羅漢的故事源流 379
(1)佛在世時的五百羅漢 379
(2)佛滅後的五百羅漢 380
參、五百羅漢的姓名 382
肆、早期的五百羅漢創作 384
(1)唐代的多體羅漢創作 384
(2)杭州南山區石屋洞五百羅漢 385
(3)廣西容縣都嶠山的五百羅漢記 387
(4)大足龍岡石窟五百羅漢 387
(5)朱繇的五百羅漢畫 389
伍、兩宋時代的五百羅漢造像 390
(1)著錄中的五百羅漢造像 390
(2)長清靈岩寺的五百羅漢 391
(3)西湖淨慈寺的五百羅漢 391
(4)開封相國寺的五百羅漢 393
陸、兩宋的五百羅漢畫 394
(1)法能的五百羅漢畫 394
(2)李公麟的五百應真圖 396
(3)劉松年的的五百羅漢畫 397
(4)林庭珪、周季常的百幅畫蹟 397
(5)張思恭的畫蹟 398
柒、明清時代的五百羅漢圖像 400
(1)著錄及五台山佛光寺的壁畫畫蹟 400
(2)天寧寺的線刻五百羅漢 403
(3)碧雲寺、筇竹寺及其他 407
捌、結論 413

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