本文旨在探究大理國張勝溫《梵像卷》「十六羅漢」的風格特徵和稿本來源，並根據其配置和構圖，管窺大理國佛教信仰的一些特質。

仔細比較《梵像卷》「十六羅漢」和五代至南宋羅漢畫風格的特徵，筆者認為，南宋杭州、寧波一帶的羅漢畫影響《梵像卷》「十六羅漢」的可能性應微乎其微。又因《梵像卷》「十六羅漢」的畫面表現與蘇軾在海南收得張玄《十八大阿羅漢》後所作的贊語頗為契合，故推測《梵像卷》的「十六羅漢」很可能是依據蜀地畫家張玄的稿本繪製而成。又因《梵像卷》中的「十六羅漢」、「南无釋迦佛會」和「祖師圖」為一有機組合，這段畫作以「南无釋迦佛會」為中心，以昭穆雁翼的結構，一方面顯示雲南祖師亦似羅漢一般，在世間護持佛道，宣揚正法；另一方面則在表現雲南佛教源遠流長，上承釋迦牟尼的佛教正統。

The present study focuses on the stylistic features and pictorial origins of the “Sixteen Arhats” depicted in the “Handscroll of Buddhist Images” by Zhang Shengwen of the Dali Kingdom. Based on the imagery and composition of these arhats, the author offers a glimpse at some features of Buddhist beliefs in the Dali Kingdom.

Comparative analysis of the “Sixteen Arhats” in “Handscroll of Buddhist Images” with the styles of arhat paintings in China from the Five Dynasties to the Southern Song period suggests to the author of the present study that the possibility of influence by arhat paintings from the Hangzhou and Ningbo region were all but nonexistent on the “Sixteen Arhats.” Furthermore, expressions of the figures in “Sixteen Arhats” in this scroll actually correspond quite closely to the descriptions in praise recorded by Su Shi after viewing Zhang Xuan’s “Eighteen Great Arhats,” which Su received in Hainan. This suggests that the “Sixteen Arhats” in “Handscroll of Buddhist Images” might possibly have been done after the Zhang Xuan version.

Close examination of the painting reveals an organic relationship between the “Sixteen Arhats” in the handscroll and the “Patriarchs” found on pages 42 to 57 with the “Śākyamuni Assembly” in the same scroll. This section of the painting should have as its focus the “Śākyamuni Assembly,” with the sixteen arhats appearing on the right. On the left should be sixteen patriarchs, including the Chan patriarchs of the West, Kāśyapa and Ānanda; the seven Chan patriarchs of the East; and Yunnan Chan patriarchs and high monks. Compositionally forming left and right flanks, on the one hand, this arrangement shows Yunnan patriarchs similar to that of arhats, upholding the Buddhist way and propagating the faith. On the other hand, it also reflects the long history of Buddhism in Yunnan, which can be traced back to the Buddhist orthodoxy of Śākyamuni.

梵像卷; 十六羅漢; 大理國; 南宋; 四川影響; 張玄

Handscroll of Buddhist Images; Sixteen Arhats; Dali Kingdom; Southern Song; influence of Sichuan; Zhang Xuan