作者： 谢继胜;
机构： 首都师范大学美术学院;
中文关键词： 伏虎罗汉;;行脚僧;;宝胜如来;;达摩多罗;;吐蕃、西夏、蒙古与汉地艺术交流
英文关键词： Fuhu Luohan(Crouching Tiger);;Xingjiaoseng(Itinerant Monk);;Baosheng-Rulai(Ratnasambhava);;Damoduoluo(Dharmatrata);;art interchange between Tubo,Xixia,Mongol and Han areas
中文摘要： 本文从分析宁夏贺兰山山嘴沟所见伏虎罗汉入手,梳理了汉藏罗汉图像的差异,重点考察了藏传佛教罗汉中伏虎罗汉、布袋和尚与达摩多罗图像的来源。作者认为,达摩多罗名号与图像的形成与吐蕃禅宗、禅宗保唐派、唐五代行脚僧及其变化的宝胜如来信仰密切相关,并与佛陀波利以及流行于两宋的布袋和尚信仰相互交织。论文解释了新罗僧与宝胜如来的信仰如何引发藏传罗汉达摩多罗与宁夏贺兰山之间特殊的联系,这些错综复杂的信仰与图像演变是中国11—13世纪多民族美术关系史的集中映现。
英文摘要： The author begins by examining the images of Fuhu Luohan that appear at Shanzuigou in the Helanshan mountains of Ningxia and examines the different images of Chinese and Tibetan arhats,focusing on the origins of the images of the Tibetan Buddhist arhats-Fuhu Luohan(Crouching Tiger),Budai-Heshang(Cloth Bag Monk)and Dharmatrata. The author argues that the formation of the titles and images of Dharmatrata are intimately related to the evolution of the beliefs of the Tubo Chan school,the Chan Bao Tang school and the Tang and Five Dynasties belief in Xingjiaoseng(Itinerant Monk),and that these were interconnected with Fotuoboli and the belief in Budai-Heshang(Cloth Bag Monk)popular in the Northern and Southern Song dynasties.The article also explains how belief in Xinluo- seng,the Monk of Si]la,and in Baosheng-Rulai(Ratnasambhava)led to the special relationship between the Tibetan Dharmatrata and the Helanshan area of Ningxia.The complex evolution of these beliefs and imagery reflects the multicultural blending that characterizes the development of Chinese Buddhist art from the 11~(th)century to the present day.
[中文刊名]： 故宫博物院院刊[出版日期]： 2009-01-30[CN]： 11-1202/G2[ISSN]： 0452-7402
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