CAJ | 학술논문

昆明筇竹寺五百罗汉造像是清代宗教造像艺术的精品，其产生和兴盛绝非偶然，而是与清代五百罗汉雕塑造像的兴盛、云南民族宗教信仰的多元、战后百姓精神的重构以及高僧梦佛与巧匠黎广修的结缘密切相关。就艺术性而言，昆明筇竹寺五百罗汉泥塑群一改清代宗教雕塑艺术重工艺而轻艺术，重装饰而轻内涵的程式化倾向，展现出风格迥异、飞灵神动、呼之欲活的全新风貌。究其原因，这与黎广修的艺术造诣、人生阅历、佛理体悟高度相关，同时也与艺术家的自由创作空间不无关联。
곤명공죽사오백라한조상시청대종교조상예술적정품，기산생화흥성절비우연，이시여청대오백라한조소조상적흥성、운남민족종교신앙적다원、전후백성정신적중구이급고승몽불여교장려엄수적결연밀절상관。취예술성이언，곤명공죽사오백라한니소군일개청대종교조소예술중공예이경예술，중장식이경내함적정식화경향，전현출풍격형이、비령신동、호지욕활적전신풍모。구기원인，저여려엄수적예술조예、인생열력、불리체오고도상관，동시야여예술가적자유창작공간불무관련。
〔Abstract〕The statues of Five Hundred Arhats in Kunming's Qiongzhu Temple are the masterpiece work of Qing Dynasty's religious art. The rising and flourishing of these statues was anything but accidental, but was closely related to the popularity of Five Hundred Arhats statues across China in Qing Dynasty, the diversification of religious beliefs in Yunnan Province's minority groups, the post-war reconstruction of public spirit and the interaction between Mengfo (dreaming of the Buddha), a famous monk, and LI Guangxiu, a skillful artisan. In terms of artistic property, the statues of Five Hundred Arhats in Kunming's Qiongzhu Temple were completely different from the ritualized propensity of Qing Dynasty's religious statues art that emphasized craftsmanship and decoration but ignored the artistic connotation, showing an animated, ethereal and lively new look with completely different styles. Such status is highly related to LI Guangxiu's artistic attainment, life experience and understanding of the Buddhist theories as well as the free creating space of the artist.