Page 86 - Contenplating the Divie Buddhist Art Christies Hong Kong

fig. 1 Imperial thangka depicting Luohan Chudapanthaka, Yongle mark and period
Sotheby’s New York, 21 September 2007, Lot 33
Photograph Courtesy of Sotheby’s, Inc. © 2007
圖一 永樂款注荼半托迦尊者唐卡 紐約蘇富比 2007 年 9 月 21 日 拍品 33 號

2864 Continued
Luohans, also known as Arhat in Sanskrit, were followers of the 羅漢（梵音譯 Arhat），為釋迦摩尼的信徒，已啟蒙但留在凡間發揚信念。
historical Buddha who have attained enlightenment but remained 他們常常被繪為中年或年長的和尚，削髮，著僧袍，無密宗佛教飾物。早
on earth to manifest their faith. They are usually depicted as 期羅漢常被描繪為西方面孔，但十一至十二世紀時常被描繪為中原人樣
middle-aged or elderly monks with shaven heads wearing heavy 貌。迦理迦尊者，為十六尊者之四，特徵是一對持於手中的耳環。
robes, without Vajrayana ornamentation. In early depictions, they
are usually shown with Western features, but by the 11th-12th 本件唐卡為西藏對於十五世紀中國羅漢唐卡的詮釋，並且通過對比一張
centuries they are more frequently portrayed as ethnically Chinese. 構圖十分相似的永樂御製唐卡，藏於 Robert Rosenkranz 珍藏，見
Kalika is the fourth Arhat from the set of the Sixteen Arhats, and is 《Paradise and Plumage: Chinese Connections in Tibetan Arhat
identified by the earring held in his hands. Painting》，紐約，2004 年，頁 56-59，可以理解以羅漢為題材的唐卡
The present thangka demonstrates the Tibetan adaptation of 乃由中國傳入西藏。另見一張署永樂款的注荼半托迦尊者唐卡，拍賣於紐
Chinese Luohan thangka genre, which first became popular during 約蘇富比，2007 年 9 月 21 日，拍品 33 號（圖一）。
the 15th century. Compare to an imperial thangka from the Yongle
period of the same genre with a very similar composition, in the
Robert Rosenkranz Collection, New York, illustrated in Paradise and
Plumage: Chinese Connections in Tibetan Arhat Painting, New York,
2004, p. 56-59; and a Yongle-marked imperial thangka depicting
Luohan Chudapanthaka, sold at Sotheby’s New York, 21 September
2007, lot 33 (fig. 1).

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