Difference between revisions of "Eighteen Arhats"
Line 3: | Line 3: | ||
==In [[China]]== | ==In [[China]]== | ||
[[File:Asita Steele Rubbing.jpg|right|190px|thumb|Ink rubbing of the steele commissioned by Qianlong depicting Asita. The upper right shows the inscriptions of the eulogy given by Qianlong.]] | [[File:Asita Steele Rubbing.jpg|right|190px|thumb|Ink rubbing of the steele commissioned by Qianlong depicting Asita. The upper right shows the inscriptions of the eulogy given by Qianlong.]] | ||
− | Originally, the [[arhats]] composed of only 10 [[disciples]] of [[Gautama Buddha]], although the earliest [[Indian]] [[sutras]] indicate that only 4 of them, [[Pindola]], Kundadhana, [[Panthaka]] and Nakula, were instructed to await the coming of [[Maitreya]]. Earliest {{Wiki|Chinese}} {{Wiki|representations}} of the [[arhats]] can be traced back to as early as the fourth century, and mainly focused on [[Pindola]] who was popularized in [[art]] by the [[book]] Method for Inviting [[Pindola]] ({{Wiki|Chinese}}: 請賓度羅法; pinyin: Qǐng Bīndùluó Fǎ). | + | Originally, the [[arhats]] composed of only 10 [[disciples]] of [[Gautama Buddha]], although the earliest [[Indian]] [[sutras]] indicate that only 4 of them, [[Pindola]], [[Kundadhana]], [[Panthaka]] and [[Nakula]], were instructed to await the coming of [[Maitreya]]. Earliest {{Wiki|Chinese}} {{Wiki|representations}} of the [[arhats]] can be traced back to as early as the fourth century, and mainly focused on [[Pindola]] who was popularized in [[art]] by the [[book]] Method for Inviting [[Pindola]] ({{Wiki|Chinese}}: [[請賓度羅法]]; pinyin: [[Qǐng Bīndùluó Fǎ]]). |
− | Later this number increased to 16 to include [[patriarchs]] and other [[spiritual]] adepts. Teachings about the [[Arhats]] eventually made their way to [[China]] where they were called Luohan (羅漢, shortened from a-luo-han a {{Wiki|Chinese}} transcription for [[Arhat]]), but it wasn't until 654 AD when the Nandimitrāvadāna ({{Wiki|Chinese}}: 法住記; pinyin: Fǎzhùjì), Record on the Duration of the Law, spoken by the Great [[arhat]] Nadimitra, was translated by [[Xuanzang]] into {{Wiki|Chinese}} that the names of these [[arhats]] were known. For some [[reason]] Kundadhana was dropped from this list. | + | Later this number increased to 16 to include [[patriarchs]] and other [[spiritual]] adepts. Teachings about the [[Arhats]] eventually made their way to [[China]] where they were called [[Luohan]] ([[羅漢]], shortened from[[ a-luo-han]] a {{Wiki|Chinese}} transcription for [[Arhat]]), but it wasn't until 654 AD when the [[Nandimitrāvadāna]] ({{Wiki|Chinese}}: [[法住記]]; pinyin: Fǎzhùjì), Record on the Duration of the Law, spoken by the Great [[arhat]] [[Nadimitra]], was translated by [[Xuanzang]] into {{Wiki|Chinese}} that the names of these [[arhats]] were known. For some [[reason]] [[Kundadhana]] was dropped from this list. |
− | Somewhere between the late {{Wiki|Tang Dynasty}} and early Five Dynasties and Ten {{Wiki|Kingdoms}} period of [[China]] two other Luohans were added to the roster {{Wiki|increasing}} the number to 18. But this depiction of having 18 Luohans only gained a foothold in [[China]] whereas other areas like [[Japan]] continue to revere only sixteen and whose roster differs somewhat. This depiction of having 18 instead of 16 Luohans continues into {{Wiki|modern}} {{Wiki|Chinese}} [[Buddhist traditions]]. A {{Wiki|cult}} built around the Luohans as {{Wiki|guardians}} of [[Buddhist]] [[faith]] gained momentum amongst {{Wiki|Chinese}} [[Buddhists]] at the end of the ninth century for they had just been through a period a great persecution under the reign of [[Emperor]] Tang Wuzong. In fact the last two additions to this roster, Taming [[Dragon]] and Taming {{Wiki|Tiger}}, are thinly veiled swipes against {{Wiki|Taoism}}. | + | Somewhere between the late {{Wiki|Tang Dynasty}} and early Five Dynasties and Ten {{Wiki|Kingdoms}} period of [[China]] two other [[Luohans]] were added to the roster {{Wiki|increasing}} the number to 18. But this depiction of having [[18 Luohans]] only gained a foothold in [[China]] whereas other areas like [[Japan]] continue to revere only sixteen and whose roster differs somewhat. This depiction of having 18 instead of [[16 Luohans]] continues into {{Wiki|modern}} {{Wiki|Chinese}} [[Buddhist traditions]]. A {{Wiki|cult}} built around the [[Luohans]] as {{Wiki|guardians}} of [[Buddhist]] [[faith]] gained momentum amongst {{Wiki|Chinese}} [[Buddhists]] at the end of the ninth century for they had just been through a period a great persecution under the reign of [[Emperor]] Tang Wuzong. In fact the last two additions to this roster, Taming [[Dragon]] and Taming {{Wiki|Tiger}}, are thinly veiled swipes against {{Wiki|Taoism}}. |
==In {{Wiki|Chinese}} [[art]]== | ==In {{Wiki|Chinese}} [[art]]== | ||
− | Because no historical records detailing how the Luohans looked like existed there were no distinguishing {{Wiki|features}} to tell the Luohans apart in early {{Wiki|Chinese}} depictions. The first portraits of the 18 Luohans was painted by the [[monk]] [[Guan Xiu]] ({{Wiki|Chinese}}: 貫休; pinyin: Guànxiū) in 891 AD who at the [[time]] was residing in Chengdu. Legend has it that the 18 Luohans knew of [[Guan | + | Because no historical records detailing how the [[Luohans]] looked like existed there were no distinguishing {{Wiki|features}} to tell the [[Luohans]] apart in early {{Wiki|Chinese}} depictions. The first portraits of the [[18 Luohans]] was painted by the [[monk]] [[Guan Xiu]] ({{Wiki|Chinese}}: [[貫休]]; pinyin: [[Guànxiū]]) in 891 AD who at the [[time]] was residing in Chengdu. Legend has it that the [[18 Luohans]] knew of [[Guan Xiu's]] expert {{Wiki|calligraphy}} and painting skills they appeared to the [[monk]] in a [[dream]] to make a request that he paint their portraits. The paintings depicted them as foreigners having bushy eyebrows, large [[eyes]], hanging cheeks and high noses. They were seated in landscapes, leaning against pine [[trees]] and stones. An additional theme in these paintings were that they were portrayed as {{Wiki|being}} unkempt and "{{Wiki|eccentric}}" which emphasize that they were vagabonds and beggars who have left all [[worldly]] [[desires]] behind. When [[Guan Xiu]] was asked how he came up with the depictions, he answered: "It was in a [[dream]] that I saw these [[Gods]] and [[Buddhas]]. After I woke up, I painted what I saw in the [[dream]]. So, I guess I can refer to these [[Luohans]] as '[[Luohans]] in a [[dream]]'." These portraits painted by [[Guan Xiu]] has become the definitive images for the [[18 Luohans]] in {{Wiki|Chinese}} [[Buddhist]] {{Wiki|iconography}}, although in {{Wiki|modern}} depiction they bear more Sinitic {{Wiki|features}} and at the same [[time]] lost their exaggerated foreign {{Wiki|features}} in exchange for more exaggerated expressions. The paintings were donated by [[Guan Xiu]] to the [[Shengyin]] [[Temple]] in Qiantang (present day Hangzhou) where they are preserved with great care and ceremonious [[respect]]. Many prominent {{Wiki|artists}} such as [[Wikipedia:Wu Bin (painter)|Wu Bin]] and {{Wiki|Ding Guanpeng}} would later try to faithfully imitate the original paintings. |
− | The {{Wiki|Qianlong Emperor}} was a great admirer of the Luohans and during his visit to see the paintings in 1757, Qianlong not only examined them closely but he also wrote a {{Wiki|eulogy}} to each Luohan {{Wiki|image}}. Copies of these eulogies were presented to the [[monastery]] and preserved. In 1764, Qianlong ordered that the paintings held at the Shengyin [[Monastery]] be reproduced and engraved onto stone tablets for preservation. These were mounted like facets into a marble [[stupa]] for public display. The [[temple]] was destroyed during the Taiping Rebellion but copies of ink rubbing of the steles were preserved in and outside of [[China]]. | + | The {{Wiki|Qianlong Emperor}} was a great admirer of the [[Luohans]] and during his visit to see the paintings in 1757, Qianlong not only examined them closely but he also wrote a {{Wiki|eulogy}} to each [[Luohan]] {{Wiki|image}}. Copies of these eulogies were presented to the [[monastery]] and preserved. In 1764, Qianlong ordered that the paintings held at the [[Shengyin]] [[Monastery]] be reproduced and engraved onto stone tablets for preservation. These were mounted like facets into a marble [[stupa]] for public display. The [[temple]] was destroyed during the {{Wiki|Taiping Rebellion}} but copies of ink rubbing of the steles were preserved in and outside of [[China]]. |
==Roster== | ==Roster== | ||
− | In the {{Wiki|Chinese}} [[Tradition]], the 18 Luohans are generally presented in the [[order]] they are said to have appeared to [[Guan Xiu]], not according to their [[power]]: {{Wiki|Deer}} Sitting, [[Happy]], Raised [[Bowl]], Raised [[Pagoda]], [[Meditating]], Oversea, [[Elephant]] Riding, Laughing [[Lion]], Open [[Heart]], Raised Hand, [[Thinking]], Scratched {{Wiki|Ear}}, Calico Bag, Plantain, Long Eyebrow, Doorman, Taming [[Dragon]] and Taming {{Wiki|Tiger}}. | + | In the {{Wiki|Chinese}} [[Tradition]], the [[18 Luohans]] are generally presented in the [[order]] they are said to have appeared to [[Guan Xiu]], not according to their [[power]]: {{Wiki|Deer}} Sitting, [[Happy]], Raised [[Bowl]], Raised [[Pagoda]], [[Meditating]], Oversea, [[Elephant]] Riding, Laughing [[Lion]], Open [[Heart]], Raised Hand, [[Thinking]], Scratched {{Wiki|Ear}}, Calico Bag, Plantain, Long Eyebrow, Doorman, Taming [[Dragon]] and Taming {{Wiki|Tiger}}. |
{|class="wikitable" align="center" style="margin:5px" width="100%" | {|class="wikitable" align="center" style="margin:5px" width="100%" | ||
Line 24: | Line 24: | ||
|- | |- | ||
| | | | ||
− | 01. | + | 01. [[Pindolabharadrāja|Pindola the Bharadvaja]]*<br/> |
([[Sanskrit]]: Pindolabharadrāja)<br/> | ([[Sanskrit]]: Pindolabharadrāja)<br/> | ||
− | ({{Wiki|Chinese}}: 賓度羅跋羅墮闍尊者; pinyin: Bīndùluó Báluóduòshé Zūnzhě) | + | ({{Wiki|Chinese}}: [[賓度羅跋羅墮闍尊者]]; [[pinyin: Bīndùluó Báluóduòshé Zūnzhě]]) |
| | | | ||
Sitting dignified on a {{Wiki|deer}},<br /> | Sitting dignified on a {{Wiki|deer}},<br /> | ||
Line 33: | Line 33: | ||
Contented with {{Wiki|being}} above [[worldly]] pursuits. | Contented with {{Wiki|being}} above [[worldly]] pursuits. | ||
| | | | ||
− | [[Guan | + | [[Guan Xiu's Dream]]: ''{{Wiki|Deer}} [[Sitting Luohan]]'' ({{Wiki|Chinese}}: [[騎鹿羅漢]]; pinyin: [[Qílù Luóhàn]]) |
|- | |- | ||
| | | | ||
− | 02. | + | 02. [[Kanakavatsa|Kanaka]] the [[Vatsa]]<br/> |
([[Sanskrit]]: [[Kanakavatsa]])<br/> | ([[Sanskrit]]: [[Kanakavatsa]])<br/> | ||
− | ({{Wiki|Chinese}}: 迦諾迦伐蹉尊者; pinyin: Jiānuòjiā Fácuō Zūnzhě) | + | ({{Wiki|Chinese}}: [[迦諾迦伐蹉尊者]]; pinyin: [[Jiānuòjiā Fácuō Zūnzhě]]) |
| | | | ||
− | Decimating the | + | [[Decimating the demons]],<br /> |
The [[universe]] now cleared.<br /> | The [[universe]] now cleared.<br /> | ||
Hands raised for jubuilation,<br /> | Hands raised for jubuilation,<br /> | ||
Be wild with [[joy]]. | Be wild with [[joy]]. | ||
| | | | ||
− | ''[[Happy]] | + | ''[[Happy Luohan]]'' ({{Wiki|Chinese}}: [[喜慶羅漢]]; pinyin: [[Xǐqìng Luóhà]]n) |
|- | |- | ||
| | | | ||
− | 03. | + | 03. [[Kanakabharadrāja]]|[[Kanaka the Bharadvaja]]<br/> |
([[Sanskrit]]: Kanakabharadrāja)<br/> | ([[Sanskrit]]: Kanakabharadrāja)<br/> | ||
− | ({{Wiki|Chinese}}: 迦諾迦跋釐堕闍尊者; pinyin: Jiānuòjiā Bálíduòshé Zūnzhě) | + | ({{Wiki|Chinese}}: [[迦諾迦跋釐堕闍尊者]]; pinyin: [[Jiānuòjiā Bálíduòshé Zūnzhě]]) |
| | | | ||
In majestic grandeur,<br /> | In majestic grandeur,<br /> | ||
Line 57: | Line 57: | ||
Glowing with jubilance and [[exultation]]. | Glowing with jubilance and [[exultation]]. | ||
| | | | ||
− | '' | + | ''[[Raised Bowl Luohan]]'' ({{Wiki|Chinese}}: [[舉缽羅漢]]; pinyin: [[Jǔbō Luóhàn]]) |
|- | |- | ||
| | | | ||
− | 04. | + | 04. [[Nandimitra]]<br/> |
− | ({{Wiki|Chinese}}: 蘇頻陀尊者; pinyin: Sūpíntuó Zūnzhě) | + | ({{Wiki|Chinese}}: [[蘇頻陀尊者]]; pinyin: [[Sūpíntuó Zūnzhě]]) |
| | | | ||
A seven-storey [[pagoda]],<br /> | A seven-storey [[pagoda]],<br /> | ||
Line 68: | Line 68: | ||
With preeminent [[Buddhist]] might. | With preeminent [[Buddhist]] might. | ||
| | | | ||
− | '' | + | ''[[Raised Pagoda Luohan]]'' ({{Wiki|Chinese}}: [[托塔羅漢]]; pinyin: [[Tuōda Luóhàn]]) |
|- | |- | ||
| | | | ||
− | 05. | + | 05. [[Nakula]]*<br/> |
([[Sanskrit]]: Nakula/Pakula) | ([[Sanskrit]]: Nakula/Pakula) | ||
− | ({{Wiki|Chinese}}: 諾距羅尊者; pinyin: Nuòjùluó Zūnzhě) | + | ({{Wiki|Chinese}}: [[諾距羅尊者]]; pinyin: [[Nuòjùluó Zūnzhě]]) |
| | | | ||
Quietly cultivating the [[mind]],<br/> | Quietly cultivating the [[mind]],<br/> | ||
Line 80: | Line 80: | ||
To enter the [[Western Paradise]]. | To enter the [[Western Paradise]]. | ||
| | | | ||
− | ''[[Meditating | + | ''[[Meditating Lohan]]'' ({{Wiki|Chinese}}: [[靜座羅漢]]; pinyin: [[Jìngzuò Luóhàn]]) |
|- | |- | ||
| | | | ||
− | 06. | + | 06. [[Bodhidruma]]'<br/> |
− | ({{Wiki|Chinese}}: 跋陀羅尊者; pinyin: Bátuóluó Zūnzhě) | + | ({{Wiki|Chinese}}: [[跋陀羅尊者]]; pinyin: [[Bátuóluó Zūnzhě]]) |
| | | | ||
Bearing the [[sutras]],<br/> | Bearing the [[sutras]],<br/> | ||
Line 94: | Line 94: | ||
|- | |- | ||
| | | | ||
− | 07. | + | 07. [[Kalika]]<br/> |
([[Sanskrit]]: Kālika)<br/> | ([[Sanskrit]]: Kālika)<br/> | ||
({{Wiki|Chinese}}: 迦理迦尊者; pinyin: Jiālǐjiā Zūnzhě) | ({{Wiki|Chinese}}: 迦理迦尊者; pinyin: Jiālǐjiā Zūnzhě) | ||
Line 106: | Line 106: | ||
|- | |- | ||
| | | | ||
− | 08. | + | 08. [[Vijraputra]]<br/> |
− | ({{Wiki|Chinese}}: 伐闍羅弗多尊者; pinyin: Fáshéluófúduō Zūnzhě) | + | ({{Wiki|Chinese}}: [[伐闍羅弗多尊者]]; pinyin: [[Fáshéluófúduō Zūnzhě]]) |
| | | | ||
Playful and free of inhibitions,<br/> | Playful and free of inhibitions,<br/> | ||
Line 117: | Line 117: | ||
|- | |- | ||
| | | | ||
− | 09. | + | 09. [[Gobaka]]<br/> |
− | ({{Wiki|Chinese}}: 戌博迦尊者; pinyin: Xūbójiā Zūnzhě) | + | ({{Wiki|Chinese}}: [[戌博迦尊者]]; pinyin: [[Xūbójiā Zūnzhě]]) |
| | | | ||
Open the [[heart]] and there is [[Buddha]],<br/> | Open the [[heart]] and there is [[Buddha]],<br/> | ||
Line 125: | Line 125: | ||
For [[Buddha's]] [[power]] is [[boundless]]. | For [[Buddha's]] [[power]] is [[boundless]]. | ||
| | | | ||
− | '' | + | ''[[Open Heart Lohan]]'' ({{Wiki|Chinese}}: 開心羅漢; pinyin: Kāixīn Luóhàn) |
|- | |- | ||
| | | | ||
− | 10. | + | 10. [[Pantha the Elder]]*<br/> |
([[Sanskrit]]: [[Panthaka]])<br/> | ([[Sanskrit]]: [[Panthaka]])<br/> | ||
− | ({{Wiki|Chinese}}: 半托迦尊者; pinyin: Bàntuōjiā Zūnzhě) | + | ({{Wiki|Chinese}}: [[半托迦尊者]]; pinyin: [[Bàntuōjiā Zūnzhě]]) |
| | | | ||
Easy and comfortable,<br /> | Easy and comfortable,<br /> | ||
Line 137: | Line 137: | ||
Contented with his own lot. | Contented with his own lot. | ||
| | | | ||
− | ''Raised Hand | + | ''[[Raised Hand Lohan]]'' ({{Wiki|Chinese}}: [[探手羅漢]]; pinyin: [[Tànshǒu Luóhàn]]) |
|- | |- | ||
| | | | ||
− | 11. | + | 11. [[Rāhula|Rahula]]<br/> |
([[Sanskrit]]: [[Rāhula]])<br/> | ([[Sanskrit]]: [[Rāhula]])<br/> | ||
− | ({{Wiki|Chinese}}: 羅怙羅尊者; pinyin: Luóhùluó Zūnzhě) | + | ({{Wiki|Chinese}}: [[羅怙羅尊者]]; pinyin: [[Luóhùluó Zūnzhě]]) |
| | | | ||
[[Pondering]] and [[meditating]],<br /> | [[Pondering]] and [[meditating]],<br /> | ||
Line 149: | Line 149: | ||
[[Compassion]] conveyed up to the Ninth [[Heaven]] | [[Compassion]] conveyed up to the Ninth [[Heaven]] | ||
| | | | ||
− | ''[[Thinking]] [[Lohan]]'' ({{Wiki|Chinese}}: 沉思羅漢; pinyin: Chénsāi Luóhàn) | + | ''[[Thinking]] [[Lohan]]]]'' ({{Wiki|Chinese}}: [[沉思羅漢]]; pinyin: [[Chénsāi Luóhàn]]) |
|- | |- | ||
| | | | ||
− | 12. | + | 12. [[Nagasena]]<br/> |
([[Sanskrit]]: [[Nāgasena]])<br/> | ([[Sanskrit]]: [[Nāgasena]])<br/> | ||
− | ({{Wiki|Chinese}}: 那迦犀那尊者; pinyin: Nājiāxīnā Zūnzhě) | + | ({{Wiki|Chinese}}: [[那迦犀那尊者]]; pinyin: Nājiāxīnā Zūnzhě) |
| | | | ||
Leisurely and contented,<br/> | Leisurely and contented,<br/> | ||
Line 161: | Line 161: | ||
Exuberant with [[interest]]. | Exuberant with [[interest]]. | ||
| | | | ||
− | ''Scratch {{Wiki|Ear}} [[Lohan]]'' ({{Wiki|Chinese}}: 挖耳羅漢; pinyin: Wāěr Luóhàn) | + | ''Scratch {{Wiki|Ear}} [[Lohan]]'' ({{Wiki|Chinese}}: [[挖耳羅漢]]; pinyin: [[Wāěr Luóhàn]]) |
|- | |- | ||
| | | | ||
− | 13. | + | 13.[[Budai|Angida]]<br/> |
− | ({{Wiki|Chinese}}: 因揭陀尊者; pinyin: Yīnjiētuó Zūnzhě) | + | ({{Wiki|Chinese}}: [[因揭陀尊者]]; pinyin: [[Yīnjiētuó Zūnzhě]]) |
| | | | ||
[[Buddha of infinite life]],<br /> | [[Buddha of infinite life]],<br /> | ||
Line 172: | Line 172: | ||
Cheerful and [[joyful]] is he.<br /> | Cheerful and [[joyful]] is he.<br /> | ||
| | | | ||
− | ''Calico Bag | + | ''[[Calico Bag Lohan]]'' ({{Wiki|Chinese}}: [[布袋羅漢]]; pinyin: [[Bùdài Luóhàn]]) |
|- | |- | ||
| | | | ||
− | 14. | + | 14. [[Vanavasa]]<br/> |
− | ([[Sanskrit]]: Vanavāsa)<br/> | + | ([[Sanskrit]]: [[Vanavāsa]])<br/> |
− | ({{Wiki|Chinese}}: 伐那婆斯尊者; pinyin: Fánāpósī Zūnzhě) | + | ({{Wiki|Chinese}}: [[伐那婆斯尊者]]; pinyin: [[Fánāpósī Zūnzhě]]) |
| | | | ||
[[Buddha of infinite life]],<br /> | [[Buddha of infinite life]],<br /> | ||
Line 184: | Line 184: | ||
Cheerful and [[joyful]] is he.<br /> | Cheerful and [[joyful]] is he.<br /> | ||
| | | | ||
− | '' | + | ''[[Plantain Lohan]]'' ({{Wiki|Chinese}}: [[芭蕉羅漢]]; pinyin: [[Bājiāo Luóhàn]]) |
|- | |- | ||
| | | | ||
− | 15. | + | 15. [[Asita]]<br/> |
− | ({{Wiki|Chinese}}: 阿氏多尊者; pinyin: āshìduō Zūnzhě) | + | ({{Wiki|Chinese}}: [[阿氏多尊者]]; pinyin: [[āshìduō Zūnzhě]]) |
| | | | ||
[[Compassionate]] elder,<br /> | [[Compassionate]] elder,<br /> | ||
Line 195: | Line 195: | ||
With tacit [[understanding]]. | With tacit [[understanding]]. | ||
| | | | ||
− | ''Long Eyebrow | + | ''[[Long Eyebrow Lohan]]'' ({{Wiki|Chinese}}: [[长眉羅漢]]; pinyin: Chángméi Luóhàn) |
|- | |- | ||
| | | | ||
16. '''Pantha the Younger'''<br/> | 16. '''Pantha the Younger'''<br/> | ||
− | ({{Wiki|Chinese}}: 注茶半托迦尊者; pinyin: Zhùchá Bàntuōjiā Zūnzhě) | + | ({{Wiki|Chinese}}: 注茶半托迦尊者; pinyin: [[Zhùchá Bàntuōjiā Zūnzhě]]) |
| | | | ||
{{Wiki|Powerful}}, husky and tough,<br/> | {{Wiki|Powerful}}, husky and tough,<br/> | ||
Line 209: | Line 209: | ||
|- | |- | ||
| | | | ||
− | 17. | + | 17. [[Nantimitolo]]+<br/> |
− | ({{Wiki|Chinese}}: 慶友尊者; pinyin: Qìngyǒu Zūnzhě) | + | ({{Wiki|Chinese}}: [[慶友尊者]]; pinyin: [[Qìngyǒu Zūnzhě]]) |
| | | | ||
In the hands are the [[spiritual]] {{Wiki|pearl}} and the {{Wiki|holy}} [[bowl]],<br /> | In the hands are the [[spiritual]] {{Wiki|pearl}} and the {{Wiki|holy}} [[bowl]],<br /> | ||
Line 217: | Line 217: | ||
To succeed in vanquishing the ferocious [[dragon]]. | To succeed in vanquishing the ferocious [[dragon]]. | ||
| | | | ||
− | '' | + | ''[[Taming Dragon Lohan]]'' ({{Wiki|Chinese}}: [[降龍羅漢]]; pinyin: [[Xiánglóng Luóhàn]]) |
|- | |- | ||
| | | | ||
− | 18. | + | 18. [[Pindola]]+<br/> |
− | ({{Wiki|Chinese}}: 賓頭廬尊者; pinyin: Bīntóulú Zūnzhě) | + | ({{Wiki|Chinese}}: [[賓頭廬尊者]]; pinyin: [[Bīntóulú Zūnzhě]]) |
| | | | ||
[[Precious]] ring with [[magical]] [[powers]],<br /> | [[Precious]] ring with [[magical]] [[powers]],<br /> |
Revision as of 16:04, 22 September 2013
The Eighteen Arhats (Chinese: 十八羅漢/十八阿羅漢; pinyin: Shíbā Luóhàn/Shíbā āLuóhàn; Wade-Giles:Lóhàn) are depicted in Mahayana Buddhism as the original followers of the Buddha who have followed the Eightfold Path and attained the Four Stages of Enlightenment. They have reached the state of Nirvana and are free of worldly cravings. They are charged to protect the Buddhist faith and to await on earth for the coming of Maitreya, a prophesied enlightened Buddha to arrive on earth many millennia after Gautama Buddha's death and nirvana. In China, the eighteen arhats are also a popular subject of Buddhist art.
In China
Originally, the arhats composed of only 10 disciples of Gautama Buddha, although the earliest Indian sutras indicate that only 4 of them, Pindola, Kundadhana, Panthaka and Nakula, were instructed to await the coming of Maitreya. Earliest Chinese representations of the arhats can be traced back to as early as the fourth century, and mainly focused on Pindola who was popularized in art by the book Method for Inviting Pindola (Chinese: 請賓度羅法; pinyin: Qǐng Bīndùluó Fǎ).
Later this number increased to 16 to include patriarchs and other spiritual adepts. Teachings about the Arhats eventually made their way to China where they were called Luohan (羅漢, shortened froma-luo-han a Chinese transcription for Arhat), but it wasn't until 654 AD when the Nandimitrāvadāna (Chinese: 法住記; pinyin: Fǎzhùjì), Record on the Duration of the Law, spoken by the Great arhat Nadimitra, was translated by Xuanzang into Chinese that the names of these arhats were known. For some reason Kundadhana was dropped from this list.
Somewhere between the late Tang Dynasty and early Five Dynasties and Ten Kingdoms period of China two other Luohans were added to the roster increasing the number to 18. But this depiction of having 18 Luohans only gained a foothold in China whereas other areas like Japan continue to revere only sixteen and whose roster differs somewhat. This depiction of having 18 instead of 16 Luohans continues into modern Chinese Buddhist traditions. A cult built around the Luohans as guardians of Buddhist faith gained momentum amongst Chinese Buddhists at the end of the ninth century for they had just been through a period a great persecution under the reign of Emperor Tang Wuzong. In fact the last two additions to this roster, Taming Dragon and Taming Tiger, are thinly veiled swipes against Taoism.
In Chinese art
Because no historical records detailing how the Luohans looked like existed there were no distinguishing features to tell the Luohans apart in early Chinese depictions. The first portraits of the 18 Luohans was painted by the monk Guan Xiu (Chinese: 貫休; pinyin: Guànxiū) in 891 AD who at the time was residing in Chengdu. Legend has it that the 18 Luohans knew of Guan Xiu's expert calligraphy and painting skills they appeared to the monk in a dream to make a request that he paint their portraits. The paintings depicted them as foreigners having bushy eyebrows, large eyes, hanging cheeks and high noses. They were seated in landscapes, leaning against pine trees and stones. An additional theme in these paintings were that they were portrayed as being unkempt and "eccentric" which emphasize that they were vagabonds and beggars who have left all worldly desires behind. When Guan Xiu was asked how he came up with the depictions, he answered: "It was in a dream that I saw these Gods and Buddhas. After I woke up, I painted what I saw in the dream. So, I guess I can refer to these Luohans as 'Luohans in a dream'." These portraits painted by Guan Xiu has become the definitive images for the 18 Luohans in Chinese Buddhist iconography, although in modern depiction they bear more Sinitic features and at the same time lost their exaggerated foreign features in exchange for more exaggerated expressions. The paintings were donated by Guan Xiu to the Shengyin Temple in Qiantang (present day Hangzhou) where they are preserved with great care and ceremonious respect. Many prominent artists such as Wu Bin and Ding Guanpeng would later try to faithfully imitate the original paintings.
The Qianlong Emperor was a great admirer of the Luohans and during his visit to see the paintings in 1757, Qianlong not only examined them closely but he also wrote a eulogy to each Luohan image. Copies of these eulogies were presented to the monastery and preserved. In 1764, Qianlong ordered that the paintings held at the Shengyin Monastery be reproduced and engraved onto stone tablets for preservation. These were mounted like facets into a marble stupa for public display. The temple was destroyed during the Taiping Rebellion but copies of ink rubbing of the steles were preserved in and outside of China.
Roster
In the Chinese Tradition, the 18 Luohans are generally presented in the order they are said to have appeared to Guan Xiu, not according to their power: Deer Sitting, Happy, Raised Bowl, Raised Pagoda, Meditating, Oversea, Elephant Riding, Laughing Lion, Open Heart, Raised Hand, Thinking, Scratched Ear, Calico Bag, Plantain, Long Eyebrow, Doorman, Taming Dragon and Taming Tiger.
Name | Qianlong's Eulogy | Synopsis |
---|---|---|
01. Pindola the Bharadvaja* |
Sitting dignified on a deer, |
Guan Xiu's Dream: Deer Sitting Luohan (Chinese: 騎鹿羅漢; pinyin: Qílù Luóhàn) |
02. Kanaka the Vatsa |
Decimating the demons, |
Happy Luohan (Chinese: 喜慶羅漢; pinyin: Xǐqìng Luóhàn) |
03. Kanakabharadrāja|Kanaka the Bharadvaja |
In majestic grandeur, |
Raised Bowl Luohan (Chinese: 舉缽羅漢; pinyin: Jǔbō Luóhàn) |
04. Nandimitra |
A seven-storey pagoda, |
Raised Pagoda Luohan (Chinese: 托塔羅漢; pinyin: Tuōda Luóhàn) |
05. Nakula* |
Quietly cultivating the mind, |
Meditating Lohan (Chinese: 靜座羅漢; pinyin: Jìngzuò Luóhàn) |
06. Bodhidruma' |
Bearing the sutras, |
|
07. Kalika |
Riding an elephant with a dignified air, |
Elephant Riding Lohan (Chinese: 騎象羅漢; pinyin: Qíxiàng Luóhàn) |
08. Vijraputra |
Playful and free of inhibitions, |
|
09. Gobaka |
Open the heart and there is Buddha, |
Open Heart Lohan (Chinese: 開心羅漢; pinyin: Kāixīn Luóhàn) |
10. Pantha the Elder* |
Easy and comfortable, |
Raised Hand Lohan (Chinese: 探手羅漢; pinyin: Tànshǒu Luóhàn) |
11. Rahula |
Pondering and meditating, |
Thinking Lohan]] (Chinese: 沉思羅漢; pinyin: Chénsāi Luóhàn) |
12. Nagasena |
Leisurely and contented, |
Scratch Ear Lohan (Chinese: 挖耳羅漢; pinyin: Wāěr Luóhàn) |
13.Angida |
Buddha of infinite life, |
Calico Bag Lohan (Chinese: 布袋羅漢; pinyin: Bùdài Luóhàn) |
14. Vanavasa |
Buddha of infinite life, |
Plantain Lohan (Chinese: 芭蕉羅漢; pinyin: Bājiāo Luóhàn) |
15. Asita |
Compassionate elder, |
Long Eyebrow Lohan (Chinese: 长眉羅漢; pinyin: Chángméi Luóhàn) |
16. Pantha the Younger |
Powerful, husky and tough, |
|
17. Nantimitolo+ |
In the hands are the spiritual pearl and the holy bowl, |
Taming Dragon Lohan (Chinese: 降龍羅漢; pinyin: Xiánglóng Luóhàn) |
18. Pindola+ |
Precious ring with magical powers, |