乾隆帝定名罗汉画名相考(下)  

The Arhat Paintings’ Names, Sequence and Iconography Check-Analyzed with Emperor Qianlong’s Revised Edition(Part B)

作　　者：张长虹[1] Zhang Changhong(The article Chinese appears from page 088 to 097)

机构地区：[1]四川大学中国藏学研究所

出　　处：《故宫博物院院刊》2021年第10期88-97,145,146,共12页Palace Museum Journal

基　　金：国家社科基金艺术学项目“清宫收藏藏传佛教罗汉唐卡研究”(项目批准号:20BF096)的阶段性研究成果。

摘　　要：乾隆皇帝十分喜爱罗汉题材的绘画,曾命丁观鹏、姚文瀚等宫廷画家创作了大量的罗汉画,还亲自对罗汉的名号和座次进行考订,并依章嘉国师编纂的《同文韵统》重定了罗汉的名号。十六罗汉的座次则与章嘉国师所编《诸佛菩萨圣像赞》中的一致,系遵循了藏地的传统。十八罗汉中的最后两位接纳的是汉地的降龙和伏虎。乾隆帝新定的罗汉位号有两个失误:第七和第八、第十七和第十八尊者的译名对译错误,位号错置。本文对乾隆帝新定的罗汉位号、两个失误的详情及其原因进行了探讨,从中亦能窥见乾隆皇帝对于藏传佛教的认知和宗教取向。Emperor Qianlong(乾隆) who loved Arhat paintings assigned Ding Guanpeng, Yao Wenhan and more other court artists specifically to paint works on this subject, and he himself renamed the Arhats based on the arrangement of their names and seats in the Same Text and Rhyme(同文韵统 in Chinese character, Tóng Wén Yùn Tǒng in Chinese pinyin) edited by State Preceptor Lcang skya Ⅲ. The arrangement of the sixteen arhats’ seats matches the order in the Enlogies to The Sacred Images of The Buddhas and Bodhisattva(诸佛菩萨圣像赞 in Chinese character, Zhū Fó Púsà Shèng Xiàng Zàn in Chinese pinyin) of Lcang skya Ⅲ’s edition following the Tibetan tradition. But the last two of the eighteen Arhats are Xianglong(Dragon Tamer) and Fuhu(Tiger Tamer) after the Chinese-Han Buddhist tradition. The thesis points out the confused names and positions of the Arhats in seats 7 and 8 with those in seats 17 and 18 in Emperor Qianlong’s revised edition and analyzes the causes for the mistakes, which to some extent gives insight into Emperor Qianlong’s cognition of Tibetan Buddhism and his religious orientation this way.

关 键 词：乾隆皇帝 章嘉国师 宫廷画家 罗汉位号和图像 

分 类 号：K249.3[历史地理—历史学] K879.4[历史地理—中国史]