昆明筇竹寺五百罗汉造像艺术的图像研究

A Study on the Five Hundred Buddhist Arhats Sculpture Art in the Qiongzhu Temple, Kunming

筇竹寺五百罗汉人物造像,形神兼备、气韵生动、飞灵神动的艺术性并非偶然,与杭州灵隐寺、四川宝光寺在姿势、形态、服饰、体量等都有明显的承袭关系,传承过程中又不断创新,最终集夸张写意性、装饰民俗性、生动叙事性于一体。这些罗汉造像一反同时期五百罗汉造像的程式化风气,创造出自由多变、内外合一的新境界。

The figural statue of Five Hundred Arhats in Qiongzhu Temple exhibits unity of form and feeling with a fluid, spirited artistry achieved by no accident; it has obviously inherited characteristics like posture, form,costume, and size from works found in Hangzhou＇s Lingyin Temple and Sichuan＇s Baoguang Temple. This statue shows innovation in the process of inheritance, however, and unifies freehand brushwork, decorative folk features, and vivid narration in one. Arhat statues such as these were contrary to the stylized creative practices of Five Hundred Arhats work common at the time, and create a free and varied new realm that concretizes both inner and outer artistic aspects.