明代畫家吳彬，向以奇異畫風為名，理解其畫風亦多由形式表現上追索入手。然吳彬名下為數甚夥之佛教人物畫作，是否可與其山水畫作等同視之？理解其風格內容是否可採用山水畫的創作脈絡？本文擬以藏於國立故宮博物院之吳彬《畫楞嚴二十五圓通冊》為對象，檢視上述論題。本文首先透過文獻重析吳彬的佛教信仰面向，顯示吳彬的居士身分；再藉由圖像、風格的比較分析，企能回溯居士佛教信仰內容於《畫楞嚴二十五圓通冊》中的運作實態。從而解釋《畫楞嚴二十五圓通冊》畫中人物的特殊造型是與居士信仰相關，並冀能與吳彬創作構思的文化脈絡連結，提出一個觀察明中後期視覺文化的可能管道。

Ming dynasty Wu Bin's famous stylish paintings have often aroused scholarly interests towards their formalities. But can we compare Wu Bin's numerous Buddhist portraits with landscape paintings in the same scale? Or can we analyze his styles and contents within the traditional landscape interpretations? The subsequent paragraphs are trying to review previous topics in relation with Wu Bin's “The Twenty-five Great Deities of the Surangama Sutra” in National Palace Museum's collections. In the thesis, I tried to reconstruct Wu Bin as a lay Buddhist (居士) through careful reviews over historical texts, and then to identify his religious belief in “The Twenty-five Great Deities of the Surangama Sutra” in the process of comparison and analysis of different icons (圖像) and styles. In this way, the stylish figures in “The Twenty-five Great Deities of the Surangama Sutra” are linked with Wu Bin's Buddhist belief and its original social context. The research then is a possible point of view to observe mid and late Ming dynasty's visual culture.

吳彬; 居士佛教; 楞嚴經; 二十五圓通

Wu Bin; Lay Buddhism; “The Surangama Sutra"; “The Twenty-five Great Deities of the Surangama Sutra"