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唐末五代诗书画僧人释贯休之罗汉,自北宋以来多为文人雅士寻访收藏,前蜀欧阳炯、北宋苏轼、南宋曾几、明末紫柏大师、清代张锦芳、丁观鹏以及乾隆皇帝都曾为其罗汉画提赞歌。其手迹虽直至南宋方有流传,但已然不多,民间流传多为摹本。其罗汉画作还东渡日本,对日本画坛影响深远。本文由当今可循的贯休罗汉图的几个版本在图像学和风格学上显示出的两种不同画风为出发点,结合古人文献中对对贯休罗汉图的描述和踪迹,对贯休“禅月式”罗汉造型的进一步确定进行了尝试性探究解读。
The late Tang and Five Dynasties Poetry, Painting and Calligraphy monks explained to break the Lohan, since the Northern Song Dynasty mostly as a literary missionary search, the former Shu Ouyang Jiong, Northern Song Su Shi, the Southern Song Dynasty had several Ming Dynasty Zibo cypress, the Qing Dynasty Zhang Jinfang, Ding Guanpeng and Emperor Qianlong For his Lohan draws a hymn. Although its handwriting has not been widely reported until the Southern Song Dynasty, it is no longer enough. Most of the folklore is copy. His paintings also go east to Japan, far-reaching impact on Japanese painting. This article starts with the two different styles of painting which are shown in the images and the stylistics of the several versions of the successive Lohan-han-tsu. According to the descriptions and traces of the images of the ancient Lo-han-han in the ancient literature, “Zen Moon ” Luo Han modeling further tentative inquiry.