大德寺《五百罗汉图》对“法能本”之发展  

The Development of Five Hundred Arhats in Daitokuji Temple to Faneng’s Version

作　　者：孙博 Sun Bo

机构地区：[1]中国国家博物馆,北京100006

出　　处：《南京艺术学院学报（美术与设计）》2023年第2期116-121,I0012,共7页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：国家社会科学基金重大项目《古代东方文学插图本史料集成及其研究》(16ZDA199)阶段性研究成果。

摘　　要：秦观《五百罗汉图记》详细记录了吴僧法能绘《五百罗汉图》的内容,为考察大德寺藏《五百罗汉图》的创新提供了比照对象。通过对两套同题材佛画的情节比较,可知大德寺既从法能本取材颇多,又有独到之处。文章从在地化、文本来源和仪式再现三个视角,考察了这些创新的动因。“Notes on Five Hundred Arhats Drawing”by Qin Guan(1049-1100),a literatus of the Northern Song Dynasty,recorded in detail the Five Hundred Arhats Drawing by monk Fa Neng,which provides a reference for exploring the innovation of the Five Hundred Arhats Scroll in Daitokuji Temple.With the comparison of the plots of the two set of drawings with the same subject matter,it can be seen that the set in Daitokuji Temple was finished by absorbing and inheriting much from the version by monk Fa Neng,buthad its own distinctiveness.The thesis analyzes the motives for the distinctiveness from three perspectives:localization,textual sources,and representation of the ritual.

关 键 词：法能样 《佛祖统纪》 罗汉供 施食 佛画商品化 

分 类 号：J19[艺术—艺术理论]