收藏著錄@#@秘殿珠林續編(乾清宮),頁365@#@@#@收藏著錄@#@故宮書畫錄(卷八),第四冊,頁127@#@@#@收藏著錄@#@故宮書畫圖錄,第十三冊,頁403-404@#@@#@參考書目@#@1.葛婉章,〈清姚文瀚畫十六羅漢連作 — 清宮羅漢畫,流露西藏風〉,《故宮文物月刊》,第156期(1996年3月),頁50-82。
@#@@#@參考書目@#@宋兆霖,〈清姚文瀚畫第十二那楂拔哈喇錣雜尊者 軸〉,收入《唵嘛呢叭咪吽—院藏藏傳佛教文物》(臺北:國立故宮博物院,2016.05),頁210-211。@#@@#@內容簡介(中文)@#@乾隆皇帝將西藏畫僧引入宮內中正殿,院畫家也畫西藏式羅漢畫。姚文瀚此十八羅漢圖組,即屬一例,本次展出其中一軸。此畫上有藏文音譯梵名,邊幅則有中文題寫為第十二尊者,其序列與漢字尊名為乾隆皇帝重新敕定。畫中尊者手持法缽,旁有經書,同見《羅漢禮供》所載第十二賓度羅跋羅墮尊者手持經書和法缽的樣式。此尊者可減輕眾生痛苦,令人健康並得解脫。姚文瀚為乾隆朝宮廷畫家,善西洋暈染技巧。(20120408)@#@@#@內容簡介(中文)@#@ 在東方勝身洲,住著尊者賓度羅跋羅墮,他身邊伴隨著一千位阿羅漢。尊者手持經書和法缽。向尊者致敬!《羅漢禮供》
漢畫的賓度羅尊者,常常是一位長眉老人,這是源自《高僧傳》裡,東晉高僧道安夢見尊者頭白眉長的形象。西藏則是根據《禮供》,以經書與缽為他的圖像特徵。傳說賓度羅曾經前往地獄、畜生、惡鬼三道說法,經書和法缽就是三惡道眾生送的禮物,尊者加持後成為信物,藉此可減輕惡道眾生痛苦,令盲聾瘋等恢復正常,獲得解脫。
@#@@#@內容簡介(英文)@#@ The Qianlong Emperor invited Tibetan monk-painters to the Zhongzheng Hall at court, and Painting Academy artists also did Tibetan-style arhat (lohan) paintings. Yao Wenhan’s set of 18 lohans is an example, with one chosen here for exhibit. At the top is a Tibetan title and to the side a Chinese inscription indicating the 12th lohan, the order and Chinese name re-established by the Qianlong Emperor. The lohan has a bowl in one hand with sutras at the side, as seen in iconography for the 12th lohan, Pindola Bharadvaja, in Ceremonial Offerings to Lohans, where he holds a sutra and bowl. The lohan can lessen the suffering of beings, bringing health and relief. Yao Wenhan was a court painter at Qianlong’s court excelling at Western wash shading.(20120408)