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{{short description|Primary disciples of Gautama Buddha according to East Asian Buddhism}} |
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⚫ |
'''The Eighteen Arhats''' (or '''Luohan''') ({{zh|c=十八羅漢|p=Shíbā Luóhàn|w=Shih-pa Lo-han}}) are depicted in [[ |
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{{Use dmy dates|date=July 2020}} |
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⚫ | '''The Eighteen Arhats''' (or '''Luohan''') ({{zh|c=十八羅漢|p=Shíbā Luóhàn|w=Shih-pa Lo-han}}) are depicted in [[Chinese Buddhism]] as the original followers of [[Gautama Buddha]] (''[[arhat]]'') who have followed the [[Noble 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 wait on earth for the coming of [[Maitreya]], an enlightened Buddha prophesied to arrive on earth many millennia after Gautama Buddha's death ([[parinirvana]]). In [[China]], the eighteen arhats are also a popular subject in [[Buddhist art]], such as the famous Chinese [[Yixian glazed pottery luohans|group of glazed pottery luohans from Yixian]] from about 1000 [[Common Era|CE]]. |
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==In China== |
==In China== |
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Later this number increased to [[Sixteen Arhats|sixteen]] 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 Chinese transcription for Arhat), but it wasn't until 654 AD when the [[Nandimitrāvadāna]] ({{zh|c=法住記|p=''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.<ref name="Relics of Buddha">{{cite book|title=Relics of the Buddha|author=John Strong|publisher=Princeton University Press|year=2004|isbn=9780691117645|url=https://books.google.com/books?id=_KLAxmR8PZAC&q=Nandimitr%C4%81vad%C4%81na&pg=PA226|page=226}}</ref> |
Later this number increased to [[Sixteen Arhats|sixteen]] 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 Chinese transcription for Arhat), but it wasn't until 654 AD when the [[Nandimitrāvadāna]] ({{zh|c=法住記|p=''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.<ref name="Relics of Buddha">{{cite book|title=Relics of the Buddha|author=John Strong|publisher=Princeton University Press|year=2004|isbn=9780691117645|url=https://books.google.com/books?id=_KLAxmR8PZAC&q=Nandimitr%C4%81vad%C4%81na&pg=PA226|page=226}}</ref> |
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Somewhere between the late [[Tang |
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.<ref name="Tang">{{cite book|title=Court Art of the Tang|author=Patricia Eichenbaum Karetzky|publisher=University Press of America|year=1996|isbn=9780761802013|url=https://books.google.com/books?id=LMOOq5ygqX4C&q=18+lohans&pg=PA128|page=128}}</ref> But this depiction of 18 Luohans only gained a foothold in China, whereas other areas like [[Japan]] continued to revere only [[Sixteen Arhats|sixteen]] and their 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]]. |
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==In Chinese art== |
==In Chinese art== |
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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 was that they were portrayed as being unkempt and "eccentric," which emphasizes that they were vagabonds and beggars who have left all worldly desires behind. When Guanxiu 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 Guanxiu have become the definitive images for the 18 Luohans in Chinese Buddhist iconography, although in modern depictions they bear more [[Sinitic]] features and at the same time have lost their exaggerated foreign features in exchange for more exaggerated expressions. The paintings were donated by Guanxiu to the Shengyin Temple in [[Hangzhou|Qiantang]] (present day [[Hangzhou]]) where they are preserved with great care and ceremonious respect.<ref name="Early Text Painting">{{cite book|title=Early Chinese Texts on Painting|author=Susan Bush and Ilsio-yen Shih|publisher=Cambridge, MA, and London|year=1985|page=314}}</ref> Many prominent artists such as [[Wu Bin (painter)|Wu Bin]] and [[Ding Guanpeng]] would later try to faithfully imitate the original paintings. |
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 was that they were portrayed as being unkempt and "eccentric," which emphasizes that they were vagabonds and beggars who have left all worldly desires behind. When Guanxiu 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 Guanxiu have become the definitive images for the 18 Luohans in Chinese Buddhist iconography, although in modern depictions they bear more [[Sinitic]] features and at the same time have lost their exaggerated foreign features in exchange for more exaggerated expressions. The paintings were donated by Guanxiu to the Shengyin Temple in [[Hangzhou|Qiantang]] (present day [[Hangzhou]]) where they are preserved with great care and ceremonious respect.<ref name="Early Text Painting">{{cite book|title=Early Chinese Texts on Painting|author=Susan Bush and Ilsio-yen Shih|publisher=Cambridge, MA, and London|year=1985|page=314}}</ref> Many prominent artists such as [[Wu Bin (painter)|Wu Bin]] and [[Ding Guanpeng]] would later try to faithfully imitate the original paintings. |
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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 on stone tablets for preservation. These were mounted like facets on a marble stupa for public display. The temple was destroyed during the [[Taiping Rebellion]] but copies of ink rubbings of the steles were preserved in and outside of China.<ref name="Harvard Univerisity">{{cite book|title=Harvard University Library|url=http://via.lib.harvard.edu/via/deliver/deepLinkResults?kw2=rubbings&kw1=lohan&bool1=and&index2=Anywhere&index1=Anywhere&repositoryLimit=Harvard%20Fine%20Arts%20Library&digital=true|access-date=2010-07-17|archive-url=https://web.archive.org/web/20110809184905/http://via.lib.harvard.edu/via/deliver/deepLinkResults?kw2=rubbings&kw1=lohan&bool1=and&index2=Anywhere&index1=Anywhere&repositoryLimit=Harvard%20Fine%20Arts%20Library&digital=true|archive-date=2011-08-09|url-status=dead}} |
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 on stone tablets for preservation. These were mounted like facets on a marble stupa for public display. The temple was destroyed during the [[Taiping Rebellion]] but copies of ink rubbings of the steles were preserved in and outside of China.<ref name="Harvard Univerisity">{{cite book|title=Harvard University Library|url=http://via.lib.harvard.edu/via/deliver/deepLinkResults?kw2=rubbings&kw1=lohan&bool1=and&index2=Anywhere&index1=Anywhere&repositoryLimit=Harvard%20Fine%20Arts%20Library&digital=true|access-date=2010-07-17|archive-url=https://web.archive.org/web/20110809184905/http://via.lib.harvard.edu/via/deliver/deepLinkResults?kw2=rubbings&kw1=lohan&bool1=and&index2=Anywhere&index1=Anywhere&repositoryLimit=Harvard%20Fine%20Arts%20Library&digital=true|archive-date=2011-08-09|url-status=dead}} {{Dead link|date=December 2019}}</ref> |
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==Roster== |
==Roster== |
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In the Chinese |
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. |
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Although the roster varies by region, this is the generally accepted listing. |
Although the roster varies by region, this is the generally accepted listing. |
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{|class="wikitable" align="center" style="margin:5px" width="100%" |
{|class="wikitable" align="center" style="margin:5px" width="100%" |
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01. '''[[Pindolabharadrāja|Pindola Bharadvaja]]'''*<br/> |
01. '''[[Pindolabharadrāja|Pindola Bharadvaja]]'''*<br /> |
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([[Sanskrit]]: ''Pindolabharadrāja'')<br/> |
([[Sanskrit]]: ''Pindolabharadrāja'')<br /> |
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({{zh|c=賓度羅跋羅墮闍尊者|p=''Bīndùluó Báluóduòshé Zūnzhě''}}) |
({{zh|c=賓度羅跋羅墮闍尊者|p=''Bīndùluó Báluóduòshé Zūnzhě''}}) |
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02. '''[[Kanakavatsa|Kanaka the Vatsa]]'''<br/> |
02. '''[[Kanakavatsa|Kanaka the Vatsa]]'''<br /> |
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([[Sanskrit]]: ''Kanakavatsa'')<br/> |
([[Sanskrit]]: ''Kanakavatsa'')<br /> |
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({{zh|c=迦諾迦伐蹉尊者|p=''Jiānuòjiā Fácuō Zūnzhě''}}) |
({{zh|c=迦諾迦伐蹉尊者|p=''Jiānuòjiā Fácuō Zūnzhě''}}) |
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03. '''[[Kanakabharadrāja|Kanaka the Bharadvaja]]'''<br/> |
03. '''[[Kanakabharadrāja|Kanaka the Bharadvaja]]'''<br /> |
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([[Sanskrit]]: ''Kanakabharadrāja'')<br/> |
([[Sanskrit]]: ''Kanakabharadrāja'')<br /> |
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({{zh|c=迦諾迦跋釐堕闍尊者|p=''Jiānuòjiā Bálíduòshé Zūnzhě''}}) |
({{zh|c=迦諾迦跋釐堕闍尊者|p=''Jiānuòjiā Bálíduòshé Zūnzhě''}}) |
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04. '''[[Subinda]]'''<br/> |
04. '''[[Subinda]]'''<br /> |
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({{zh|c=蘇頻陀尊者|p=''Sūpíntuó Zūnzhě''}}) |
({{zh|c=蘇頻陀尊者|p=''Sūpíntuó Zūnzhě''}}) |
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05. '''[[Nakula (arhat)|Nakula]]'''*<br/> |
05. '''[[Nakula (arhat)|Nakula]]'''*<br /> |
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([[Sanskrit]]: ''Nakula/Pakula'')<br/> |
([[Sanskrit]]: ''Nakula/Pakula'')<br /> |
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({{zh|c=諾距羅尊者|p=''Nuòjùluó Zūnzhě''}}) |
({{zh|c=諾距羅尊者|p=''Nuòjùluó Zūnzhě''}}) |
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Quietly cultivating the mind,<br/> |
Quietly cultivating the mind,<br /> |
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A countenance calm and composed.<br/> |
A countenance calm and composed.<br /> |
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Serene and dignified,<br/> |
Serene and dignified,<br /> |
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To enter the Western Paradise. |
To enter the Western Paradise. |
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06. '''[[Bhadra (arhat)|Bhadra]]'''/'''[[Bodhidharma]]'''<br/> |
06. '''[[Bhadra (arhat)|Bhadra]]'''/'''[[Bodhidharma]]'''<br /> |
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({{zh|c=跋陀羅尊者|p=''Bátuóluó Zūnzhě''}}) |
({{zh|c=跋陀羅尊者|p=''Bátuóluó Zūnzhě''}}) |
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Bearing the sutras,<br/> |
Bearing the sutras,<br /> |
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Sail east to spread the world.<br/> |
Sail east to spread the world.<br /> |
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Climbing mountains and fording streams,<br/> |
Climbing mountains and fording streams,<br /> |
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For the deliverance of the humanity. |
For the deliverance of the humanity. |
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07. '''[[Kalika (arhat)|Kalika]]'''<br/> |
07. '''[[Kalika (arhat)|Kalika]]'''<br /> |
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([[Sanskrit]]: ''Kālika'')<br/> |
([[Sanskrit]]: ''Kālika'')<br /> |
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({{zh|c=迦理迦尊者|p=''Jiālǐjiā Zūnzhě''}}) |
({{zh|c=迦理迦尊者|p=''Jiālǐjiā Zūnzhě''}}) |
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Riding an elephant with a dignified air,<br/> |
Riding an elephant with a dignified air,<br /> |
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Chanting aloud the sutras.<br/> |
Chanting aloud the sutras.<br /> |
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With a heart for the humanity,<br/> |
With a heart for the humanity,<br /> |
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Eyes scanning the four corners of the universe. |
Eyes scanning the four corners of the universe. |
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08. '''[[Vijraputra]]'''<br/> |
08. '''[[Vijraputra]]'''<br /> |
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({{zh|c=伐闍羅弗多尊者|p=''Fáshéluófúduō Zūnzhě''}}) |
({{zh|c=伐闍羅弗多尊者|p=''Fáshéluófúduō Zūnzhě''}}) |
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Playful and free of inhibitions,<br/> |
Playful and free of inhibitions,<br /> |
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The lion cub leaps with joy.<br/> |
The lion cub leaps with joy.<br /> |
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Easily alternating tension with relaxation,<br/> |
Easily alternating tension with relaxation,<br /> |
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Rejoicing with all living things. |
Rejoicing with all living things. |
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09. '''[[Gobaka]]'''<br/> |
09. '''[[Gobaka]]'''<br /> |
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({{zh|c=戌博迦尊者|p=''Xūbójiā Zūnzhě''}}) |
({{zh|c=戌博迦尊者|p=''Xūbójiā Zūnzhě''}}) |
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Open |
Open the heart and there is Buddha,<br /> |
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Each displaying his prowess.<br/> |
Each displaying his prowess.<br /> |
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The two should not compete,<br/> |
The two should not compete,<br /> |
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For Buddha's power is boundless. |
For Buddha's power is boundless. |
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10. '''[[Panthaka|Pantha the Elder]]'''*<br/> |
10. '''[[Panthaka|Pantha the Elder]]'''*<br /> |
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([[Sanskrit]]: ''Panthaka'')<br/> |
([[Sanskrit]]: ''Panthaka'')<br /> |
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({{zh|c=半托迦尊者|p=''Bàntuōjiā Zūnzhě''}}) |
({{zh|c=半托迦尊者|p=''Bàntuōjiā Zūnzhě''}}) |
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11. '''[[Rāhula|Rahula]]'''<br/> |
11. '''[[Rāhula|Rahula]]'''<br /> |
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([[Sanskrit]]: ''Rāhula'')<br/> |
([[Sanskrit]]: ''Rāhula'')<br /> |
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({{zh|c=羅怙羅尊者|p=''Luóhùluó Zūnzhě''}}) |
({{zh|c=羅怙羅尊者|p=''Luóhùluó Zūnzhě''}}) |
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12. '''[[Nagasena (arhat)|Nagasena]]'''<br/> |
12. '''[[Nagasena (arhat)|Nagasena]]'''<br /> |
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([[Sanskrit]]: ''Nāgasena'')<br/> |
([[Sanskrit]]: ''Nāgasena'')<br /> |
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({{zh|c=那迦犀那尊者|p=''Nājiāxīnā Zūnzhě''}}) |
({{zh|c=那迦犀那尊者|p=''Nājiāxīnā Zūnzhě''}}) |
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Leisurely and contented,<br/> |
Leisurely and contented,<br /> |
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Happy and knowledgeable.<br/> |
Happy and knowledgeable.<br /> |
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Full of wit and humour,<br/> |
Full of wit and humour,<br /> |
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Exuberant with interest. |
Exuberant with interest. |
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13. '''[[Budai#Angida |
13. '''[[Budai#Angida|Angida]]'''<br /> |
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({{zh|c=因揭陀尊者|p=''Yīnjiētuó Zūnzhě''}}) |
({{zh|c=因揭陀尊者|p=''Yīnjiētuó Zūnzhě''}}) |
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14. '''[[Vanavasa]]'''<br/> |
14. '''[[Vanavasa]]'''<br /> |
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([[Sanskrit]]: ''Vanavāsa'')<br/> |
([[Sanskrit]]: ''Vanavāsa'')<br /> |
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({{zh|c=伐那婆斯尊者|p=''Fánāpósī Zūnzhě''}}) |
({{zh|c=伐那婆斯尊者|p=''Fánāpósī Zūnzhě''}}) |
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15. '''[[Asita (arhat)|Asita]]'''<ref>{{cite book |last1=Coulter |first1=Charles Russell |last2=Turner |first2=Patricia |title=Encyclopedia of Ancient Deities |date=4 July 2013 |publisher=Routledge |isbn=978-1-135-96397-2 |page=32 |language=en |quote=Ajita (Buddhist; India): Also known as: A-shih, Ma-p'am-pa (Tibet), Me-phem-pa (Tibet), Maitreya, Mi-Lo Fu (China). A deified mortal who is the second arhat (one of sixteen, later eighteen apostles). He is usually depicted in a meditative pose with his head covered.}}</ref><br /> |
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15. '''[[Asita (arhat)|Asita]]'''<br/> |
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({{zh|c=阿氏多尊者|p=''āshìduō Zūnzhě''}}) |
({{zh|c=阿氏多尊者|p=''āshìduō Zūnzhě''}}) |
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16. '''[[Pantha the Younger]]'''<br/> |
16. '''[[Pantha the Younger]]'''<br /> |
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([[Sanskrit]]: ''Cūḍapanthaka'')<br/> |
([[Sanskrit]]: ''Cūḍapanthaka'')<br /> |
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({{zh|c=注茶半托迦尊者|p=''Zhùchá Bàntuōjiā Zūnzhě''}}) |
({{zh|c=注茶半托迦尊者|p=''Zhùchá Bàntuōjiā Zūnzhě''}}) |
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Powerful, husky and tough,<br/> |
Powerful, husky and tough,<br /> |
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Watching with careful alertness.<br/> |
Watching with careful alertness.<br /> |
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With the Buddhist staff in hand.<br/> |
With the Buddhist staff in hand.<br /> |
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Valiantly annihilates the evil. |
Valiantly annihilates the evil. |
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17. '''[[Mahākāśyapa]]'''+<br/> |
17. '''[[Mahākāśyapa]]'''+<br /> |
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({{zh|c=嘎沙鴉巴尊者|p=''Gāshāyābā Zūnzhě''}}) |
({{zh|c=嘎沙鴉巴尊者|p=''Gāshāyābā Zūnzhě''}}) |
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18. '''[[Maitreya]]'''+<br/> |
18. '''[[Maitreya]]'''+<br /> |
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({{zh|c=纳答密答喇尊者|p=''Nàdámìdálǎ Zūnzhě''}}) |
({{zh|c=纳答密答喇尊者|p=''Nàdámìdálǎ Zūnzhě''}}) |
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==Gallery== |
==Gallery== |
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<gallery widths=" |
<gallery widths="200" heights="200"> |
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File:Stoneware figure of a luohan, from Yixian, China, Liao Dynasty, 907-1125 CE. British Museum.jpg|Stoneware figure of a luohan, from Yixian, China, Liao |
File:Stoneware figure of a luohan, from Yixian, China, Liao Dynasty, 907-1125 CE. British Museum.jpg|Stoneware figure of a luohan, from Yixian, China, Liao dynasty, 907–1125 CE. British Museum |
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File:Stoneware statue of a luohan, Ming Dynasty, 15th century CE, from China. The Burrell Collection, UK.jpg|Stoneware statue of a luohan, Ming |
File:Stoneware statue of a luohan, Ming Dynasty, 15th century CE, from China. The Burrell Collection, UK.jpg|Stoneware statue of a luohan, Ming dynasty, 15th century CE, from China. The Burrell Collection, UK |
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File:Iron figure of a luohan, from China, Ming Dynasty, 1494 CE, the British Museum.jpg|Iron figure of a luohan, from China, Ming |
File:Iron figure of a luohan, from China, Ming Dynasty, 1494 CE, the British Museum.jpg|Iron figure of a luohan, from China, Ming dynasty, 1494 CE, the British Museum |
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File:18 Luohans Ivory China 1912 -1949 (8) (252845894).jpg |
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</gallery> |
</gallery> |
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==References== |
==References== |
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{{ |
{{commons category|18 Arhats}} |
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{{reflist}} |
{{reflist}} |
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{{DEFAULTSORT:Eighteen Arhats}} |
{{DEFAULTSORT:Eighteen Arhats}} |
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[[Category:Arhats|*]] |
[[Category:Arhats|*]] |
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[[Category: |
[[Category:Disciples of Gautama Buddha]] |
The Eighteen Arhats (orLuohan) (Chinese: 十八羅漢; pinyin: Shíbā Luóhàn; Wade–Giles: Shih-pa Lo-han) are depicted in Chinese Buddhism as the original followers of Gautama Buddha (arhat) who have followed the Noble 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 wait on earth for the coming of Maitreya, an enlightened Buddha prophesied to arrive on earth many millennia after Gautama Buddha's death (parinirvana). In China, the eighteen arhats are also a popular subject in Buddhist art, such as the famous Chinese group of glazed pottery luohans from Yixian from about 1000 CE.
Originally, the arhats were 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.[1] Earliest Chinese representations of the arhats can be traced back to as early as the fourth century,[2] 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 sixteen 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 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.[3]
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.[4] But this depiction of 18 Luohans only gained a foothold in China, whereas other areas like Japan continued to revere only sixteen and their 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.
Because no historical records detailing what the Luohans looked like existed, there were no distinguishing features to tell the Luohans apart in early Chinese depictions.[5] The first portraits of the 16 Luohans were painted by the monk Guanxiu in 891 AD, who at the time was residing in Chengdu. Legend has it that the 16 Luohans knew of Guanxiu's expert calligraphy and painting skills, so they appeared to the monk in a dream to make a request that he paint their portraits.[6] 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 was that they were portrayed as being unkempt and "eccentric," which emphasizes that they were vagabonds and beggars who have left all worldly desires behind. When Guanxiu 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 Guanxiu have become the definitive images for the 18 Luohans in Chinese Buddhist iconography, although in modern depictions they bear more Sinitic features and at the same time have lost their exaggerated foreign features in exchange for more exaggerated expressions. The paintings were donated by Guanxiu to the Shengyin Temple in Qiantang (present day Hangzhou) where they are preserved with great care and ceremonious respect.[7] 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 on stone tablets for preservation. These were mounted like facets on a marble stupa for public display. The temple was destroyed during the Taiping Rebellion but copies of ink rubbings of the steles were preserved in and outside of China.[8]
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.
Although the roster varies by region, this is the generally accepted listing.
Name | Qianlong's Eulogy | Synopsis |
---|---|---|
01. Pindola 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, |
|
03. Kanaka the Bharadvaja |
In majestic grandeur, |
|
A seven-storey pagoda, |
||
05. Nakula* |
Quietly cultivating the mind, |
|
06. Bhadra/Bodhidharma |
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, |
|
Open the heart and there is Buddha, |
||
10. Pantha the Elder* |
Easy and comfortable, |
|
11. Rahula |
Pondering and meditating, |
|
12. Nagasena |
Leisurely and contented, |
|
Buddha of infinite life, |
||
14. Vanavasa |
Carefree and leisurely, |
|
Compassionate elder, |
||
16. Pantha the Younger |
Powerful, husky and tough, |
|
17. Mahākāśyapa+ |
In the hands are the spiritual pearl and the holy bowl, |
Taming Dragon Lohan (Chinese: 降龍羅漢; pinyin: Xiánglóng Luóhàn) |
Precious ring with magical powers, |
luohans added.
Ajita (Buddhist; India): Also known as: A-shih, Ma-p'am-pa (Tibet), Me-phem-pa (Tibet), Maitreya, Mi-Lo Fu (China). A deified mortal who is the second arhat (one of sixteen, later eighteen apostles). He is usually depicted in a meditative pose with his head covered.