化運神通──明代神通式渡水羅漢畫之析探;A Study on the Paintings of Lohans’ Supernatural Water Crossing in the Ming Dynasty

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題名:	化運神通──明代神通式渡水羅漢畫之析探;A Study on the Paintings of Lohans’ Supernatural Water Crossing in the Ming Dynasty
作者:	張貝稜;Zhang, Bei-Leng
貢獻者:	藝術學研究所
關鍵詞:	神通式渡水羅漢畫;渡水羅漢;龍王請齋;八仙過海;The paintings of Lohans;Supernatural water crossing;Longwang qingzhai;the Eight Immortals
日期:	2017-07-10
上傳時間:	2017-10-27 16:23:06 (UTC+8)
出版者:	國立中央大學
摘要:	神通式渡水羅漢畫為明清時期相當盛行的題材，圖像上，多表現羅漢們騎乘狻狔、龍、龜鱉、鯉魚等奇珍異獸，抑或足踩布袋、錫杖、浮槎、竹蓆等物渡水。這個題材雖然累積了相當可觀的文獻紀錄與存世作品，然而，在其宗教文獻的依據及圖像之上仍有諸多未解之謎。本文的第一章擬分述「常人式」與「神通式」的圖像差異，接著回顧畫史及宗教文獻上的幾個議題：其一，傳王維渡水羅漢畫之爭論；其二，擅畫渡水羅漢畫的名家在歷史發展上的轉變；其三，「龍王請齋」為文獻依據的可能性。第二章將從佛教僧傳、道教仙傳及地方軼事之處著手，探討畫中幾種圖像表現與羅漢之間的關聯性，如：達摩一葦渡江、布袋和尚、海市蜃樓等；並闡述部分渡水形式的文獻來源，如：蝦蟆凌虛、以蓆作舟等。第三章則以「羅漢畫的祈壽功能」、「神通式渡水羅漢畫所具備的長生之意」以及「與明代慶壽圖像的關聯」三個面向，來建構出神通式渡水羅漢畫與慶壽文化之關係。 ;The paintings of Lohans’ Supernatural Water Crossing, called the Supernatural type for short, was one of the most popular motifs in the visual culture of the Ming and Qing periods. It displays lohans riding on such fabulous vehicles as dragons, Suannis (the ancient name of lion), turtles, carps, floating rafts, or mats. Even though there are a substantial number of literature records and extant works of this type, the issues concerning the images and the basis of Buddhist literatures have yet to be discussed. Chapter one of this thesis will first distinguish the Natural and the Supernatural types in iconography, additionally review three issues in painting history and Buddhist literatures of the Supernatural type: First, the debate over the authenticity of works attributed to Wang Wei. Second, diversion on the attribution of famous painters from Tang to Ming. Third, possibility of Longwang qingzhai (the vegetarian diet invitation of the Dragon King) that the Supernatural type rests on. In Chapter two, the first half of this embarks upon the accounts of eminent monks’ biography and anecdotes. Then, I analyze the association between lohans and few images of the Supernatural type; for one of the typical examples here is Bodhidharma crossing the river on a reed. The second half of this chapter elaborates on Daoist immortals’ biographical accounts in relation to vehicles; Yi xi zuo zhuo (riding on a mat) or Xia mo ling xu (riding on a toad) for instance, of lohans’ water crossing. Chapter three is divided into three parts: the function of praying for longevity of lohan paintings, the longevous implication of the Supernatural type, and the association with the Supernatural type and longevous themes such as the Eight Immortals crossing the sea in Ming dynasty. Thereby the discussion establishes a connection with the Supernatural type and longevous culture.
顯示於類別:	[藝術學研究所 ] 博碩士論文

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