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鑑藏宝玺:乾隆御览之宝题跋资料:
题跋类别:题跋;作者:董诰边幅 ;书体:楷书;全文:第十七纳纳答密答答喇尊者。主题:
主要主题:佛道人物罗汉(应真、尊者) ;次要主题:佛道人物大成就者 ;其他主题:山水云五色云;其他主题:人物孩童 ;其他主题:器用宗教器用数珠、金刚弯刀、供果;其他主题:树木技法:
工笔 皴法 人物衣纹描法(匀称线条)参考资料:
收藏着录: 秘殿珠林续编(干清宫),页365 收藏着录: 故宫书画录(卷八),第四册,页127 收藏着录: 故宫书画图录,第十三册,页415-416 参考书目: 1.葛婉章,〈清姚文瀚画十六罗汉连作 — 清宫罗汉画,流露西藏风〉,《故宫文物月刊》,第156期(1996年3月),页50-86。 内容简介(中文): 姚文瀚(活动于西元一七五二年前后),顺天(北平)人。号濯亭,乾隆时供奉内廷,善画佛道人物。 据裱绫上的藏文标名及画中人物形貌,本幅与第十八尊者的中文法号错置,本幅应为嘎沙鸦巴达喇玛。《罗汉礼供》所颂扬的西藏罗汉团体,在第十六尊者之后,接下来就是居士羯摩札拉及四大天王,并无此尊。此尊形貌酷似汉地流传的弥勒化身布袋和尚,根据藏地的传说,他是唐肃宗派到西藏邀请罗汉的信使,并负责确保罗汉的旅途安全,遂与十六罗汉常相左右。藏人称其为「和尚」,一如汉人称藏僧为「喇嘛」,直取其音译,故可推测,西汉罗汉集团中的这位和尚,乃是由汉地传入的,时间上晚于《礼供》而早于奈塘版画,也就是明清之间。 流传到西藏又成为送子和尚。此尊宽面大肚,手持佛珠、蟠桃,童子围绕嬉戏。云后半裸禅定飘带者,是印度修行得道的大成就者。 内容简介(英文): Yao Wen-han (sorbriquet Cho-t’ing) was a native of Shun-t’ien. (modern Peking) He excelled in Buddhist and Taoist figure painting and served as a painter in the Inner Court of the Ch’ien-lung emperor (r.1736-1796). According to the Tibetan inscription on the mounting and the iconography of the figure, this painting is of the eighteenth Lohan, Hvasheng, and not the seventeenth Lohan as written in the Chinese inscription which was added later. In Tibetan lore, Hvasheng helped disseminate a message from the Chinese emperor inviting lohans from India to go to China. He is therefore often depicted with the Sixteen Lohans. The origin of his Tibetan name comes from the sound of the characters 〞ho-sheng 〞-hence 〞Hvasheng.〞The pictorial representation is related to that of the Chinese monk Pu-tai. When this tradition spread to Tibet, this monk was called 〞Sung-tzu ho-sheng,〞the 〞monk who brings children.〞 This lohan has a broad face and a large stomach. He holds Buddha beads and a peach of longevity. Playing children surround him. In the clouds behind is an Indian Mahàsiddha, asaint or miracle-worker, who has attained enlightenment and wears the meditation cord.