明末清初侨日僧的中国叙事——以日本“唐绘祖”江南禅僧逸然为例  

Chinese Narratives of Chinese Monks Emigrant in Japan in Late Ming and Early Qing Dynasties:A case study of Yi Ran,the Jiangnan Zen monk,revered as the“Tang Painting Patriarch”

作　　者：王韧[1] Wang Ren

机构地区：[1]上海社会科学院文学研究所,上海200235

出　　处：《南京艺术学院学报（美术与设计）》2024年第4期1-7,I0002,共8页Journal of Nanjing Arts Institute:Fine Arts & Design

基　　金：2023年上海社会科学院招标项目《“来舶清人”江稼圃研究》阶段性研究成果。

摘　　要：日本“唐绘开祖”逸然明末东渡,任兴福寺住持期间精研佛法并暗中支持明末志士。退隐后,他潜心习画,兼收并蓄中日画风,200余幅藏品以中后期佛画人物居多,有效弘扬中华佛教美学精神。其门下谱系一派繁荣,聚多社会角色跨界艺术家,生发出“若芝派”“渡边派”两分支,画风承传二百余年,绘写和传播具有鲜明特色的中国故事。Asthe"Ancestor of Tang Painting"in Japan,Yi Ran crossed the seas to Japan in the late Ming dynasty.During his tenure as the abbot of Xingfu Temple,he dedicated himself to the study of Buddhist teachings and covertly supported Ming loyalists.After retiring from public life,Yi Ran dedicated himself to painting,assimilating the styles of both Chinese and Japanese artists.His collection comprises over 200 works,with a focus on Buddhist figures in the middle and later periods,effectively promoting the aesthetic spirit of Chinese Buddhism.His artistic lineage thrived,giving rise to two branches–the"Ruo Zhi School"and the"Watanabe School"–bringing forth a distinctive style of Chinese storytelling that has been passed down for over two centuries.

关 键 词：唐绘 江南禅僧 逸然 逸然画派 中国叙事 

分 类 号：J203[艺术—美术]