清代乾隆時期畫家—文翚(hui) 居士，公元1703年8月20日—公元1789年3月15日，享年八十六，一位專畫佛像，代表作品《十八羅漢》《韓熙載夜宴圖》
During the Qianlong period of the Qing Dynasty, the painter, Hui, lived eighty-six years from August 20, 1703 to March 15, 1789. He was a Buddhist figure, and his representative works were the eighteen Arhats and the night banquet of Han Xizai.
在乾隆時期對藝術家來說是幸亦是不幸;幸者，乾隆帝在位期間清朝達到了康乾盛世以來的最高峰，他在康熙、雍正兩朝文治武功的基礎上，進一步完成了多民族國家的統一，社會經濟文化有了進一步發展。不幸者，國家興盛，藝術家人才輩出，要在眾多優秀的畫家中脫穎而出是何其之難。
During the reign of Emperor Qianlong, the Qing Dynasty reached its highest peak since the prosperous period of Kangxi and Qianlong. On the basis of the cultural and martial arts achievements of the Kangxi and Yongzheng dynasties, he further completed the unification of multi-ethnic countries and further developed the social economy and culture. Unfortunately, the country is prosperous, and there are many talented artists. It is difficult to stand out among many outstanding painters.
文翚居士，留世品甚少，只能在少數的作品中得知乃乾隆時期專畫佛像，羅漢的畫家，且工筆了得，畫像入木三分，人物生動傳神，是畫佛像的佼佼者。佛像是多為畫師不敢碰觸的題材，更何況是在尚佛的乾隆時期，佛者乃神明，不可褻瀆，威嚴且慈祥,二者本身就是矛盾，畫師要同時刻畫出這兩種神態，沒有扎實的畫工和對人物表情的深透理解是無法作畫的，故此在乾隆時期，文翚居士的畫像專供達官貴人，最為出色者是:十八羅漢圖。
Wen Hui was a scholar with few works left in the world. Only in a few of his works can we know that he was a painter of arhan and dedicated to painting Buddhist statues in Qianlong period. His paintings were incisive and his figures were vivid and vivid. He was an outstanding painter of Buddhist statues. Buddha statues were mostly subjects that painters did not dare to touch. What's more, during the Qianlong period when Buddhism was worshipped, the Buddha was a God, which could not be blasphemed, dignified and kind, The two are contradictory in themselves. If a painter wants to depict these two kinds of expressions at the same time, he can't paint without a solid painter and a deep understanding of the expression of the characters. Therefore, in the Qianlong period, the portraits of the literati in Wenhui were dedicated to high officials and dignitaries. The most outstanding one is the eighteen Arhats.
《清代十八羅漢介紹》
據唐玄奘法師西行取經帶回的《法經記-xyt》說，慶友尊者在涅磐時將住世十六位大阿羅漢的名號告知眾生，十六羅漢即廣為流傳。到了清代，世人在為十六羅漢造像時，出于尊敬，將慶友尊者及玄奘大師加進去，于是，十六尊者即演變成十八羅漢，只是后兩位羅漢名號時有變化。清乾隆年間，由乾隆帝欽定，將十七、十八羅漢定為降龍羅漢和伏虎羅漢，十八羅漢名號才最終確定。
Introduction to the eighteen Arhats in Qing Dynasty
According to the Dharma Sutra - XYT, which was brought back from the pilgrimage to the west by master Xuanzang of Tang Dynasty, when he was in Nirvana, he told all living beings the names of the sixteen great Arhats, and the sixteen Arhats were widely spread. In the Qing Dynasty, when people made statues for the sixteen Arhats, they added Qingyou Zun and master Xuanzang in order to respect them. As a result, the sixteen Arhats were transformed into eighteen Arhats, but the names of the latter two Arhats changed from time to time. During the reign of Emperor Qianlong of the Qing Dynasty, the seventeen and eighteen Arhats were designated as dragon subduing Arhats and tiger subduing Arhats, and the names of the eighteen Arhats were finally determined.
文翚(hui) 居士《十八羅漢》長卷，保存完整，值得收藏。羅漢，是佛教語，梵文阿羅漢的音譯，亦作應真，真人，是小乘佛教修行的最高果位。此幅《十八羅漢圖》是描繪釋迦摩尼令十八羅漢常住人間，濟度眾生的故事，圖中羅漢或伴獸弄蛟，降魔說法，或執如意，捧金缽，持法器，拿經卷，神態各異，栩栩如生。此圖以白描法畫出，線描如春蠶吐絲，既連綿不斷，又富于變化，把這些佛門羅漢刻畫得細膩生動，且睿智超脫。全幅袍袖飛動，充滿動感。表現了作者相當高超的駕馭筆墨的能力和塑造對象的造型能力。
The long volume of eighteen Arhats written by Hui Wen is well preserved and worth collecting. Arhat, a Buddhist language, is a transliteration of Sanskrit arhat. It is also called Yingzhen and Zhenren. It is the highest fruit of Mahayana Buddhism. This painting of the eighteen Arhats depicts the story of Sakyamuni's order that the eighteen Arhats would live in the world and help all living beings. In the picture, the Arhats may accompany animals to make Jiaos, subdue demons, or hold Ruyi, holding golden bowls, holding magic weapons, and holding scriptures. Their looks are different and lifelike. This picture is drawn with line drawing method. The line drawing is like silkworms spinning in spring. It is continuous and full of changes. It depicts these Buddhists and Arhats with delicacy, vividness and wisdom. Full length sleeves fly, full of movement. It shows the author's superb ability to control the brush and ink and the modeling ability to shape objects.
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