蓬溪宝梵寺明代壁画罗汉图像考察

An Investigation of The Arhat Images on The Ming Murals of Baofan Temple Pengxi County

蓬溪宝梵寺壁画绘制于景泰元年(1450)前后,是南方明代寺院壁画中的代表性作品。壁画主体为罗汉图像,基于《法住记》十六罗汉记述描绘。罗汉造型主要继承蜀地五代贯休式样,又吸收中原北方同时代罗汉像因素而自成一格,兼具世俗化、写实性与装饰性特点。壁画构图突破传统罗汉图像的人物组合模式,并借鉴水陆画的空间表现手法,创造出自由多变、天人合一的境界。作品一反同时期寺院壁画的程式化风气,表现出一定的独创性和文人意趣。该图像为探求罗汉信仰与禅宗思想的关系提供了重要线索。

The murals preserved in Baofan Temple of Pengxi County is dated back to the first year of Emperor Jingtai’s( 景泰 ) reign (circa 1450), which stand out excellent among the temple murals of the Ming Dynasty. They mainly include the images of the sixteen arhats which are depicted on the basis of Fazhu-sutra (Fa Zhu Ji) following the pattern by Guan Xiu who was born in the Shu State of the Five Dynasties, also taking elements from the arhat figures found in the northern central China, so as to form an unique style of their own by being secularized, realistic and decorative. The composition of the murals surpasses the traditional mode but refers to the spatial techniques of the Shuilu painting, creating a free and variant effect that implies the harmony between man and universe. The artistic expression of the murals goes against the standardized styles of the temple mural painting. In this sense, they contribute noticeable clues to examine the relationship between arhat belief and Zen thoughts.