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| The Sixteen Lohans in the Pai-Miao Style: From Sung to Early Ch'ing | ||
| 作者 | Kent, Richard Kellogg |
|---|---|
| 出版日期 | 1995 |
| 出版者 | Princeton University |
| 出版者網址 | http://www.princeton.edu/ |
| 出版地 | Princeton, NJ, US [普林斯顿, 紐澤西州, 美國] |
| 資料類型 | 博碩士論文=Thesis and Dissertation |
| 使用語言 | 英文=English |
| 學位類別 | 博士 |
| 校院名稱 | Princeton University |
| 系所名稱 | Department of Art and Archaeology |
| 指導教授 | Fong, Wen |
| 畢業年度 | 1995 |
| 關鍵詞 | ART HISTORY; LOHAN; ARHAT; ARAHANT; CHINESE BUDDHISM; SUNG; CH'ING |
| 摘要 | Chapter 1 surveys the worship in China of the sixteen lohans--enlightened disciples of the Buddha entrusted with guarding the Buddhist law until the advent of Maitreya, the Buddha of the future. Cultic worship of the lohans flourished toward the end of the ninth century, inspiring their depiction in painting and, presumably, sculpture. Strongly iconic, the earliest, extant representations follow two models: one that presents them with sinicized features in the manner of contemporary portraits of Chinese patriarchs, and one that emphasizes their foreignness in the manner of earlier, imaginary portraits of legendary Indian disciples--especially Mahakasyapa--that had been produced in China since the Six Dynasties period. Focusing on the only surviving handscroll attributed to the monk-painter Fan-lung (d. before 1187), Chapter 2 examines the rise of the depiction of lohans in the pai-miao style during the late eleventh and twelfth centuries. Along with the choice of a style that was distinctly associated with late Northern Sung literati culture, there occurs a marked change in the iconography. In Fan-lung's painting the lohans are presented as dignified Ch'an abbots in garden-like settings and engaged in scholarly, contemplative pursuits. The iconographic change, much informed by the genre of Ch'an patriarchal portraiture, reflects the institutional prominence gained by the Ch'an school during the eleventh and twelfth centuries. Fan-lung's approach to depicting the lohans, which also incorporates elements from genres of secular painting, offers visual evidence of the increasingly public and multi-faceted identity of the Ch'an school at this time. Chapter 3 examines the continuation of the Sung-derived tradition of pai-miao lohan painting as it was revived during the late Ming and early Ch'ing periods. The chapter focuses on works by Ting Yun-p'eng and Shih-t'ao. Both of these artists' lives and careers were profoundly shaped by the widespread renewal of Buddhism, and particularly the Ch'an school, that began during the Wan-li period and lasted well into the Ch'ing period. I argue that the achievement of these two artists in painting lohans in the pai-miao style cannot be separated from their identities as Buddhist adherents. |
| 點閱次數 | 133 |
| 建檔日期 | |
| 更新日期 | 2016.03.31 |
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