【作者】 张凯；

【导师】 徐习文；

【作者基本信息】 东南大学 ， 艺术学理论， 2019， 博士

【摘要】 10至13世纪是东亚地区罗汉图像与信仰发展的兴盛期。一方面,罗汉思想持续丰富,传播空间不断扩大,信仰圣地得以确立;另一方面,罗汉画家及画评出现,造像数量增加,图像类型增多,艺术水平达到顶峰。将罗汉图像与信仰视为整体给予分析,对于研究东亚地区佛教艺术的发展与传播具有重要意义。首先,罗汉信仰文本生成并型塑图像,即从佛教典籍、民间故事和士人诗文三个层面,确立罗汉图像创作理念,丰富表现内容,拓展禅意维度。与此同时,华严与禅宗思想的流布赋予了罗汉图像创作语境。而文本在东亚各国接受中的不同解读,又引发罗汉图像在技法、风格、组合上更为复杂地变化。其次,罗汉图像对信仰产生助推与制约,即从场景配置、物质载体、图像运用三个层面影响信仰。一方面,十六、十八、五百罗汉在场景空间中与佛菩萨图像的不同配置,既是对信仰文本的观照,也反映了文本在具体解读中地延伸和融合。另一方面,图像在塑绘材质上的丰富性增强了信仰的亲和力,比例尺寸特征体现出信仰中的秩序感。特别是图像载体由壁面向纸面的转化,在丰富图像创作手法,促进传播效率的同时,也造成信众观看方式的变化,从而促使信仰发生降格,推动罗汉信仰的民间化与世俗化。再次,罗汉图像与信仰作为整体在东亚地区互动地和多层次地进行传播,体现在传播者与受众、传播媒介和传播空间三个层面。一方面,其传播来自于社会各阶层信仰主体的共同作用。僧侣既是受众也是传递者,特别是来往于陕北、巴蜀、湘赣、江南的行脚僧、以及往返于中日的巡礼僧和禅宗高僧成为传播的主要力量。而宋代士人凭借特殊地位扮演着引领者的角色,商人则作为传播中的新鲜血液,不仅在巴蜀、荆湖、淮浙等地“纵价收市”,而且借助中日间外冷内热的贸易往来输送图像至日本,催生出了明州罗汉画家群体。另一方面,罗汉图像与信仰的传播媒介除了依托文本外,还有真迹手工摹本、画样粉本、模印拓本等多种形式。而这些传播现象背后所折射的是佛教艺术交流空间从中印向东亚,从西域向东海的整体转向,呈现出交流高规格,传播环流化,手段多样化等特征。10至13世纪罗汉图像与信仰在东亚地区的发展与传播,是镶嵌在东亚文化圈的宏观背景下进行地,折射出各地区、民族间的文化认同以及民族意识自觉。既体现文化圈中人与自然的和谐统一观,以及东亚社会所共有的权力观和功用观,也体现了文化涵化过程中,彼此在价值、审美选择上的适应与认同。不过,在整体融合的背后,我们仍能看出不同地区自身文化无意识的展现和对身份建构的诉求,促使他们不断推进罗汉图像的民族化和本土化,使得东亚地区的罗汉图像及其信仰向着更加成熟、完善、多元的方向发展。更多还原

【Abstract】 The 10 th to 13 th centuries witnessed the flourishing development of Arhat images and beliefs in East Asia.On the one hand,Lohan’s ideas and concepts continue to be rich,the space of dissemination continues to expand,and the holy place of belief has been established;on the other hand,Lohan painters and painting reviews have appeared,the number of statues and statues of Lohan has increased,the types of images have increased,and the artistic level has reached its peak.The analysis of Arhat images and beliefs as a whole is of great significance to the study of the development and dissemination of Buddhist art in East Asia.Firstly,Arhat belief text generated and shaped images.That is to say,from the three levels of Buddhist classics,folk stories and scholar’s poetry and prose,it laid down the concept of Luohan’s image creation,enriched the content of expression,and expanded the dimension of Zen.At the same time,the spread of Huayan and Zen gave the context of Arhat ’s image creation.The different interpretations of the text in East Asian countries lead to more complex changes in techniques,styles and combinations of Arhat images.Secondly,the materiality of Arhat’s image promoted and restricted belief,that was,from the three levels of scene configuration,material carrier and image application.It had a negative effect on belief.On the one hand,the different configurations of the sixteenth,eighteenth and fifteen hundred Arhats with Buddha and Bodhisattva images in the scene space reflected not only the reflection of the belief text,but also the extension and integration of the text in the specific interpretation.On the other hand,the richness of images in the material of sculpture and painting enhances the affinity of beliefs,and the characteristics of scale and size reflect the sense of order in beliefs.Especially in the use of images,the carrier presented a wall-to-paper transformation,which enriched the image creation techniques and promotes the efficiency of communication,but at the same time,it also caused the change of the viewing mode of the believers,thus promoting the degradation of beliefs,promoting the deepening of the folk and secularization of Arhat beliefs,and demonstrating the powerful boosting function of images for beliefs.Thirdly,as a whole,Arhat images and beliefs were disseminated interactively and at different levels in East Asia,which are embodied in three levels:communicators and audiences,media and space.On the one hand,its disseminationcame from the joint role of the main body of belief of all social strata.Monks were both receivers and transmitters.Especially foot monks from northern Shanxi,Bashu,Hunan and Jiangxi,as well as visiting monks and Zen monks from China and Japan,had become the main force of communication.The scholars in Song Dynasty played a leading role by virtue of their special status,while the businessmen,as the fresh blood in communication,not only closed the market at a high price in Bashu,Jinghu,Huaizhe and other places,but also sent images to Japan by means of the cold and hot trade between China and Japan,which led to the emergence of the professional group of Arhat painters in Mingzhou.On the other hand,besides relying on texts,the media of Arhat ’s image and belief also have many forms,such as handmade copies of authentic works,powdered drawings,rubbings of impressions and so on.Behind these communication phenomena,Buddhist art communication space had changed from India to East Asia,from the Western Regions to the East China Sea as a whole,showing the characteristics of high specifications of communication,circulation of communication and diversification of means.The development and dissemination of Arhat images and beliefs in East Asia from the 10 th to the 13 th centuries is mosaic in the macro background of East Asian cultural circle,reflecting the cultural connotation,cultural identity and national consciousness of different regions and nations.It not only embodied the concept of harmony and unity between man and nature shared by cultural circles,and the demands of power and utility in East Asian society,but also reflected the contact,adaptation and identification of value choice and aesthetic choice in the process of cultural acculturation.However,behind the overall integration,we can still see that different regions in the cultural circle,in the process of receiving their own cultural unconsciousness and the expression of identity construction,prompt them to constantly promote the nationalization and localization of Arhat images,making the Arhat images and their beliefs in East Asia more mature,perfect and diverse.The direction of development.更多还原