孤峰奇秀-杰夫·瓦特讲授“卡泽拉佐”绘画艺术

这张唐卡包含了十六大阿罗汉中的四位，分别是：巴沽拉尊者，注荼半托迦尊者，罗睺罗尊者与宾度罗跋罗堕阇。而此为七张一套的系列画作之一。

绘制此唐卡（以及另外六张已经遗失的作品）的画家名为卡泽拉佐，意为“卡泽乡之画师，”来自东藏的昌都地区。他的本名应为泽仁或泽腾彭措，出生于措果湖畔之措果村。自幼于塔扎杰尊仁波切益西滇佩贡布（1760-1810）所住持的帕雪寺出家。虽然关于其生平并无具体的年代记录，但卡泽拉佐主要的绘画创作时间从18世纪末持续到了19世纪中早期。而此幅唐卡为他所绘之七张一套系列中唯一存世之作。

对于十六罗汉的文本描述最早来源于公元四世纪时期的印度文献，称为《圣难陀仙人本生名》。（梵文：Arya Nanda Mitra Avadana Nama；藏文：phags pa dga' ba'i bshes gnyen gyi rtogs pa brjod pa.）而十六罗汉总是与释迦牟尼佛以及另外八个形象一起出现在各式材质的创作上，包括布面，壁画以及金石土木。在西藏，此形象的文本来源为十二/十三世纪喀什米尔大班智达释迦狮利所造之《十六尊者礼赞文》，其中包含了对各个罗汉的描述，历来影响甚广。现存最古老之同类题材为中藏扎唐寺之壁画。然而，此壁画并非如后代常见的风格一样将十六位阿罗汉汇于一处。其中除去佛陀之子罗睺罗以外，十六罗汉固定的单独与群体组合方式并无足够证据以资证明。

东西方艺术史研究者通常使用梵文“阿罗汉”一词来指代十六位尊者，而真正精确的词汇则应是梵文“sthavira”,为尊者或上座之意。而十六之数在佛教传统里则指最早跟随佛陀的弟子众。

图A:尊者巴沽啰

此幅唐卡中有四位主要人物及其他次要形象。尊者巴沽啰，其身微侧，坐高广大床，其床以黄金羯摩兽首为庄严，大小占画面上部三分之一。尊者双手持吐宝鼬，前方有侍者比丘一人，举盛满红珊瑚与如意宝之大盘。其畔亦堆众宝及象牙一对。尊者身后怪石凸出，杂以茂郁之树为华盖，而勾出右上角与顶部之架构。

赞曰：“尊圣长者巴沽拉，北俱卢洲长安住，九百罗汉为眷属，众尊足前我礼敬。”（出自《十六尊者礼赞文》）

画面左上方为密乘女性本尊绿度母，其状犹若栖于绿树华枝中。

图B:注荼半托迦尊者

画面中部偏左为注荼半托迦尊者，光头且目光朝下，双手持金刚菩提念珠，于平地飞升之布垫上宴坐。

赞曰：“尊圣注荼半托迦，灵鹫山中长安住，一千六百罗汉绕，手结定印者我礼敬。”（出自《十六尊者礼赞文》）

图C:罗睺罗尊者

画面中左部为罗睺罗尊者，风华正茂，目视前方，右手舒展，左手托宝冠于腿上。坐于蓝色靠背之方广大床上，其旁有侍者跪举安放宝冠之函。

赞曰：“尊圣长者罗睺罗，青蓝苑洲长安住，一千一百罗汉绕，持宝天冠者我礼敬。” （出自《十六尊者礼赞文》）

图D:宾度罗跋罗堕阇尊者

画面右下部为宾度罗跋罗堕阇尊者，右手抚弄胡须，左手向上持一托举梵匣之树枝，于平整布垫上安坐，并观其侍者与贵胄鉴识一黑色托钵。在左方远处有在家人照料一大于常态之粉色盛莲。

赞曰：“尊圣宾度罗跋罗，东胜身洲长安住，一千一百罗汉绕，持经函托钵者我礼敬。” （出自《十六尊者礼赞文》）

图中所有罗汉皆身着汉式风格之祖衣。其中除罗睺罗以外，皆现中老年之相。而罗睺罗身为佛陀之亲子，却总以青年之相貌而为世所知。

图E:度母图局部1

卡泽拉佐的绘画风格有众多独特与不凡之特点，如上色岩石常如木炭之状（如图E），如意众宝若隐若现，宝座造型瑰异精妙，衣袍之锦缎织造极其细腻繁密等（如图F）。而以上特点为其祖师、罗汉与寂静尊题材画作中众多突出特色之一睹。

图F:度母图局部2

虽然卡泽拉佐还有其他罗汉题材的画作存世，但仅区区数幅单一及双人人像画得以确认。除此之外，作者亦以八十四大成就者、格鲁派护法圣众、宗喀巴及其弟子之本生传以及塔扎历代祖古传承之系列创作闻名于世。从各领域来看卡泽拉佐都是一位多产的艺术家，其已知画作总量约超150幅。

尽管众多艺术家曾仿造卡泽拉佐所创之肖像类型，但能在画风、笔触、色彩与构图上与之齐肩者鲜矣。其艺术创作皆可归入上妙之品，在西藏众多绘画流派中亦孤峰奇秀，因此可置作者于近代藏传佛教艺术巨匠之殿堂上。

中文翻译：四川音乐学院 赵明玮 

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Four Elders (sthavira) from the group of Sixteen Great Elders: Bakula, Chudapantaka, Rahula and Pindola Bharadvaja. This composition belongs to a set of seven paintings.

The artist of this painting (and the other six missing compositions) is known as Khazi Lhazo, the 'Artist of Khazi Village' in the Chamdo region of East Tibet. His proper name is either Tsering or Tsetan Puntsog and he originated from a village named Tsogo, next to a lake of the same name. As a young monk he belonged to Pasho Monastery under the authority of Tatsag Jedrung Rinpoche, Yeshe Tenpa'i Gonpo (1760-1810). Khazi Lhazo was active as an artist from the late 18th century into the first quarter or first half of the 19th century. His exact dates are not currently known. This particular painted composition is the only known work to exist from the set of seven paintings created by Khazi Lhazo.

The group of Sixteen Elders are based on an early Indian Buddhist text possibly dating to the 4th century titled the Arya Nanda Mitra Avadana Nama (Tibetan: 'phags pa dga' ba'i bshes gnyen gyi rtogs pa brjod pa [TBRC W1PD95844, pp.1407-1419]). The Sixteen Elders are always found in a group of twenty-five figures which include Shakyamuni Buddha, , they are painted on cloth, wall murals, and fashioned of metal, stone, clay, or wood. An early iconographic source, popular in Tibet, for the individual descriptions of the elders is the verse text 'Praise to the Sixteen Elders' attributed to the Kashmiri teacher Shakyashri Bhadra of the 12th/13th century. The earliest known paintings in Tibet are found as wall murals in Dratang Monastery in Central Tibet. However, the Dratang paintings do not appear to depict the group of sixteen which gained in popularity some time later. Aside from Rahula, the son of Shakyamuni Buddha, there appears to be little evidence to support the existence of these sixteen elders individually or as a group.

The Sanskrit term 'arhat' is commonly used in both the East and West among art historians to describe these Sixteen Elders. The actual correct term for these sixteen Buddhist figures is 'sthavira', meaning 'elder' in Sanskrit. The sixteen represent what are believed to be, within the tradition, the earliest followers of the Buddha.

In this particular composition there are four prominent figures and several secondary attendant figures. The Elder Bakula, with his body partially turned, is seated in the upper third of the composition atop an elaborate throne adorned with gold makara head ornaments. In the two hands he holds a jewel spitting mongoose. An attendant monk stands in front holding a large plate filled with red coral and wish-fulfilling jewels. Additional jewels are piled at the side along with two elephant tusks. A rocky outcropping and a single lush tree acting as a canopy frame the upper corner and top of the composition.

 "To the noble elder, the great Bakula of Northern Kuru, surrounded by a retinue of 900 arhats; to the feet of all those I bow." (liturgical verse). 

In the sky at the upper left is Green Tara, a female Buddhist Tantric deity, as if perched on the branches of a delicate tree.

At the middle left is Chudapantaka with a bald head and a downward looking gaze. In the two hands he holds a mala, string of prayer beads made of rudraksha berries. He sits atop a cloth mat that appears to be floating above the ground supported only by wafting currents of air.

"On Vulture Peak Mountain is the noble elder Chudapantaka, surrounded by 1,600 arhats; homage to the One with the two hands placed in meditation." (liturgical verse).

The Elder Rahula sits at the middle right of the composition, youthful in appearance, gazing forward. The proper right hand is extended to the side and the left supports a crown in the lap. He sits atop a square throne with a blue backdrop while an attendant, supporting a box for the crown, patiently kneels at the side.

"On the Island of Priyangku is the noble elder Rahula, surrounded by 1,100 arhats; homage to the One holding a jewelled tiara." (liturgical verse).

 At the lower right is Pindola Bharadvaja stroking his bearded chin with the right hand while holding a tree branch supporting a folio text with the upraised left hand. He sits atop a relatively plain cloth seat while observing a monk attendant and noble examining a black begging bowl. At the far left side a layman attends to an over-sized pink lotus blossom

 "On the Eastern [continent] of Purva-Videha is the noble elder Pindola Bharadvaja, surrounded by 1,100 arhats; homage to the One holding a book and begging bowl." (liturgical verse).

 All of the elders wear colourful patchwork robes following a Chinese artistic style. Three of the elders portrayed here, along with the other sixteen, save for Rahula, are typically depicted as middle aged or elderly. Rahula, being the biological son of the historical Buddha, is almost always shown in a youthful appearance.

 There are many special and unique characteristics in the painting style of Khazi Lhazo such as the charcoal-like coloured stone outcroppings, translucent wish-fulfilling jewels, elaborate surreal throne seats and extraordinarily detailed brocade textile robes. These are only a few of the most obvious features that are found in compositions depicting teachers, elders and peaceful deities.

 Several other sets of paintings depicting the Sixteen Elders by Khazi Lhazo are known to exist with only a few or single compositions identified. Those sets portray either single figures or dual figures per composition. Khazi Lhazo is also famous for creating sets of compositions depicting the Eighty-four Mahasiddhas, Gelug Protector Deities, Tsongkapa and his principal students and the Tatsag Incarnation line. Khazi Lhazo was a prolific artist by all accounts. Depending on the total number of paintings in some of the known sets it is calculated that Khazi Lhazo created upwards of 150 compositions.

Many artists have copied the iconographic inventions of Khazi Lhazo but few have been able to replicate the painting style, brushwork, colour and composition. All of the art of Khazi Lhazo are masterworks, all of them are unique among the various Tibetan painting styles making Khazi Lhazo one of the most important of the late Tibetan artists.

Jeff Watt 10-2017

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