晚唐时期，工笔重彩人物画，再也没有出现盛唐时的繁荣和辉煌，而这一时期的水墨山水画却是蒸蒸日上，在绘画中的地位甚至超过了人物画，并影响了人物画的趣味走向。晚唐时，佛教禅宗已得到了发展，以不立文字、直指人心、见性成佛相标榜。五代时，道教、佛教并盛，寺院中的壁画，仍然受到重视。前蜀、后蜀僻处西陲，五代的战乱，对这里并没有多大影响，所以政教平治，社会安宁，蜀主又奖励提倡绘画，于是人才辈出。中原画家多把蜀地看成乐土，纷纷西去避乱，促成两蜀绘事的兴盛，成为绘画艺术的中心。贯休是当时蜀地画家中最有名的擅绘道释的画家，而且他还创造了风格怪异的宗教人物画。
贯休所绘罗汉，有的庞眉大目，有的高颧隆鼻，面貌都是“胡貌梵相”，这种奇异之相，立意免俗。据史料记载，贯休曾说，这些“不类世间所传”的佛教人物形象，是他“梦中所睹尔”。我们大可不必信梦中所睹之物，但这些梵像却是贯休冥思悟对禅学的产物，是禅宗境界的幻化。
现藏于日本皇宫内厅的这幅贯休的《十六罗汉图》，据日本学者鉴定是宋初摹本，是最接近贯休原作的作品。
十六罗汉，均为佛的弟子。佛经上说他们是受佛敕、永住此世而济度众生者。贯休的《十六罗汉图》与唐代佛教艺术中经常出现的胡人形象是一致的。
但唐时的佛像已渐趋世俗化，具有较强的写实性，贯休一改这种风格，他笔下的十六罗汉大幅度变形，变得怪异，富有神秘感和威慑力。
我们来介绍一下《十六罗汉图》中的距罗尊者像和阿氏多尊者像。
距罗尊者原是一名勇猛的战士，后来出家，但却没有改掉作战时的野性，为摒弃他的粗野性格，佛祖让他静坐修行。后来的距罗尊者虽然修成了罗汉，但他静坐时仍有一股威猛之气。《十六罗汉图》中的距罗尊者鹰目高鼻，双手合十作拜谒状，气宇轩昂，英气逼人。邛杖斜倚在古木座椅上，座椅两臂扶手处呈龙首造型，形态生动，整个画面和谐一致。作者对人物头部、手部的骨骼造型进行了夸张处理，并且以墨色染出凹凸，极具立体写实效果。
传说阿氏多尊者一生下来就有两道长长的白眉毛，所以修成罗汉后，又叫“长眉罗汉”。图中的长眉罗汉张口露齿，双目炯炯。作者对长眉罗汉的两道白眉进行了细致地刻画：白眉足有尺余，顺着人物两颊下垂到胸前，罗汉正双手捻托。人物左耳的刻画也极度夸张，耳朵大至下部耳垂与下巴底线平行，而使整个头部呈方形。画中服饰在黄色格子上以细密线画出布纹作为底色，上面画树石、龙凤或人物图案。作者用笔细致准确，几乎到了毫发毕现的程度。
《十六罗汉图》不管从创作风貌上看，还是从笔墨技巧上看，历来都受到很高的评价。画中用笔虽细却凝练遒劲，长线条连绵不断，转折圆润，有厚重感。《宣和画谱》曾赞贯休的《十六罗汉图》说：“以至丹青之习，皆怪古不媚，作十六大阿罗汉，笔法略无蹈袭世俗笔墨畦畛，中写己状眉目，亦非人间所有近似者。”

艺术价值
明代仇英画的十六罗汉，或倚松坐石，或晏坐禅定，或阅经论道。他的十六罗汉构思新奇、含蓄，意境幽僻，笔法稚拙，设色淡雅，富有笔墨趣味。这些罗汉形神兼备，罗汉头颅结构和面部表情夸张，眉毛浓密，眼睛上下使用双线或多层线条，加强眼部神态，以达高颧深目，胡貌梵僧的效果。服饰图案极为精细，与衣纹线条形成强烈对比，充分表现墨色和笔法的变化趣味，以及所绘的奇峰怪石，山石花木，多奇柯异叶，极尽庄严之能事，树干与岩石的用笔细致绵密， 配色殊丽，在山树间烘染成云气氤氲，将罗汉那种「神通自在」表露无遗。他的《十六罗汉像》，都能体现出其画佛既有奉佛之虔诚，又有抒写性灵之洒脱。生拙古朴，逸笔草草，不求形似。
从表面看，显得十分外行，仔细琢磨，人物瞬间的神态、特征却表现得准确生动。此外，这一时期还有许多作品虽冠以仙佛名目，却已不再是宗教崇拜的偶像，而演变成封建士大夫生活理想的化身，更是画家本人内心生活的写照。在这些作品中，都以不多的景物点缀，通过对丛竹、顽石、流水等景物的描写，成功地创造出理想化的环境，为突出人物性格发挥了烘托作用，使画面多了一层出尘的逸趣。这些绘画，少数亦注重禅机悟境的蕴藉，但多数是继承前代禅画疏减清淡的形式而不求禅意禅境。这幅十六罗汉图无论是在题材上、风格上，还是在审美功用上，都反映了佛教美术逐渐摆脱了佛教的羁绊而得到世俗化的发展。这一趋势是绘画艺术进步的表现，因为它代表着佛画艺术进一步走向了现实生活。首先，这是时代发展的大势所趋，因为美术能够表现历史、再现某一历史时期的社会风貌。
作者画风
作者，明代仇英，以山水、人物见长，而人物画中，尤以罗汉图成就最高。他的罗汉图不囿古法，每出新奇，形成独自的风格特点。此画构图不落俗套，富有情趣，人物造型怪诞而不失法度，线条疏密有致，用色艳而不俗。李公麟式的“白描罗汉图”十分流行。从明末丁云鹏的十八罗汉图，可以看到李公麟的遗风。十八尊者个个形貌有别，姿态各殊，须眉毫发刻画入微，衣纹细劲流畅，恍若行云流水。线条迂回荡漾，富有节奏。明末大家陈洪绶亦深受李公麟线描的影响。他晚年有一幅《隐居十六观》，其第十开，画二位罗汉并坐几前，阅读经书，衣纹匀圆，简洁古朴。作者在白描的墨线上，用青、赭钩勒，更富变化，饶有趣味。

艺术价值
贯休绘画作品中的名作；古代佛教绘画艺术的精品；五代佛教怪异人物画的一个典型。
画外音　马克斯·洛尔的观点：贯休的罗汉形象体现了佛教在9世纪遭受迫害时受到的破坏和劫难。那时佛教寺庙在中国几乎绝迹，画家笔下的罗汉像是一场大劫后年迈体虚的幸存者，饱经岁月和痛苦记忆的煎熬。
史料记载
据史料记载，贯休的《十六应真像》始画于唐广明年间（公元880年），至乾宁初年才完成16帧，前后用了10多年才完成此创作。五代十国时期，贯休为逃避战乱来到相对安定的西蜀，将《十六应真像》带到了四川。此后，辗转全国各地，历经磨难。
《五代贯休十六罗汉图:杭州历史名碑》：五代时期僧人贯休的《十六应真像》，是唐宋之间的水墨类宗教画的传世代表作。贯休（832－912），原名姜德隐，浙江兰溪人。6岁即为僧，工书画，号“宝月禅师”，是唐末五代著名的诗僧和画僧。贯休一生，游历既广，且能诗善画，在画坛诗林均有影响。尤其所画罗汉，绝俗超群，历代评价很高。其形象夸张变形，大异常人。贯休自称所绘罗汉形象怪异的来源为“从梦中所见”。《十六应真像》成了后世临摹及雕塑罗汉佛像的范本。
清初，《十六应真像》为浙江钱塘圣因寺所得。乾隆二十二年（公元1757年），乾隆皇帝南巡驻杭州西湖。一日，亲往圣因寺观赏此画，惊叹之余，感慨不已。他根据《梵经》改正了画上原题的罗汉名，并题写了赞文。《清乾隆御题像赞》曰：“唐贯休画《十六应真像》，自广明至今垂千年，流传浙中，供藏于钱塘圣因寺。乾隆丁丑仲春南巡，驻西湖行宫，诣寺瞻礼，因一展观，信奇笔也。第尊者名号，沿译经之。
画家小传
贯休，(823～912年),俗姓姜，字德隐，婺州兰豁(一说为江西进贤县)人,唐末五代著名画僧。7岁时便投兰溪和安寺圆贞禅师出家为童侍。贯休记忆力特好，日诵《法华经》1000字，过目不忘。贯休又雅好吟诗，常与僧处默隔篱论诗，或吟寻偶对，或彼此唱和，见者无不惊异。贯休受戒以后，诗名日隆，仍至于远近闻名。乾化二年(915年)终于所居，世寿81。
贯休曾至豫章(今江西南昌)传《法华经》、《大乘起信论》，“皆精奥义，讲训且勤”，为郡太守王慥所钦重。王慥离职后，新任太守蒋瓌开洗忏戒坛，也请贯休为监坛。 又叫僧贯休。

In the late Tang Dynasty, meticulous figure painting, never appeared in Tang Dynasty's prosperity and glory, and this period is the landscape painting in the painting in the position on the upgrade, even more than the figure painting, figure painting and the impact of interest trends. During the late Tang Dynasty, Zen Buddhism has been developed by means of non-literature to, Zhizhirenxin Buddhahood upon en lightenment phase advertised. Five Dynasties, Taoism, Buddhism and Sheng, the murals in the temple, still attached importance to. Former Shu, Shu after their western, five generations of the war, and did not have much impact on here, so the Mercedes Benz, social stability, and reward houshu advocated painting, so talented. The painter to Sichuan as paradise, have to avoid chaos, contributed to the prosperity of the two Shu painting, a painting art center. This was the most famous painter in Sichuan who painted Taoism painter, and he also created a grotesque religious figure painting.
Painted by Guanxiu Lohan, some pangmei big eyes, high nose Quanlong, appearance is "Hu Maung Brahma", this strange phase, conception of exception. According to historical records, Guanxiu said, these "no class world preach" Buddhist figures, is his "dream to see you". We don't need to see the dream of the letter, but the Vatican is like Guanxiu Wu products on Zen meditation, Zen is the realm of illusion.
This picture of Guanxiu now hidden in the Japanese imperial palace hall of the sixteen Arhats map "", according to Japanese scholars identified is the beginning of Song Dynasty is the most close to the original copy, Guanxiu works.
Sixteen Arhats, are the disciples of buddha. The Buddhist scriptures say they are inspired by Buddha Chi, the permanent residence of the world and the economy of the people. The image of Hu people Guanxiu "Sixteen Lohan map" and Buddhist art in Tang Dynasty often is consistent.artistic value
The Ming Dynasty Anglophobia painting sixteen Arhats, or sitting or leaning loose stone, Yan sitting in meditation, or read through the on the road. His sixteen Arhats conceiving, implicit artistic conception, style simple, secluded, elegant and full of ink taste. These arhat portraits, arhat skull structure and facial expression exaggeration, bushy eyebrows, use double or multi lines eyes, strengthen eye expression, to achieve high zygomatic deep eyes, Hu Maung Indian monk effect. Dress pattern is extremely sophisticated, a contrast with the lines of clothes, change color and taste the full performance style, and painted the rocks Qifeng rocks, flowers and trees, leaves very solemn Duoqi Ke ISO, the top, the trunk and the rock with dense detail, color is beautiful, in the mountain trees shading into dense clouds. Will the "supernatural" shows itself arhat. His "Sixteen Arhats", can reflect the Buddha painting both in Buddhist piety, and free to express spirit of. A clumsy simplicity, leisurely pen, not for the shape.
From the surface, it seems very amateur, careful pondering, the figure of the moment of expression, but the performance is accurate and vivid. In addition, during this period, there are many famous works although dubbed names, they are no longer the religious worship of idols, and evolved into a feudal literati life ideal incarnation, is the artist himself inside a portrayal of life. In these works, with much of the scenery embellishment, according to Zhu Cong, stone, water and other scenery description, successfully create the ideal environment, play a role in contrast to highlight the character, make the picture more than a layer of dust in the garden. These a few paintings, but also to the implication of Zen enlightenment, but mostly inherited the previous generation Zen painting thinning the light form without Zen zen. The picture of sixteen Arhats map both in theme and style, and aesthetic function, reflect the Buddhist art gradually get rid of the fetters of Buddhism and secular development. This trend is the development of the art of painting, because it represents the art of Buddhist painting further to the real life. First of all, this is the trend of the times, because art can reflect the history, reproduction of a historical period of social style.
Author style
The author of the Ming Dynasty, Qiu Ying, to landscapes, good character, and figure paintings, especially the arhat pursues the highest achievement. His vivid Arhats map of ancient method, each novel, style characteristics alone. The composition of interesting characters, conform to no conventional pattern, grotesque and losing the testimonies, line density, the color is gorgeous but not vulgar. Li Gonglin's "Baimiao Arhats map" is very popular. From the late Ming Dynasty Ding Yunpeng eighteen Arhats map, you can see Li Gonglin's legacy. Eighteen you all don't have the special morphology, attitude, man was fine Jin Yi Wen fleshes out the details, Huang Ruo smooth, freely flowing style of writing. The line twists and turns, full of rhythm. The influence of Chen Hongshou Li Gonglin by drawing everyone. In his later years, there is a "Sixteen" in view, the tenth open, two days before painting, and reading classics arhat drapery, uniform circular, simple and unsophisticated. The author in the painting line, with green, red hook, more varied, interesting.
But the Tang Dynasty Buddha has gradually secularized, with strong realism, Guanxiu changed the style of sixteen Arhats greatly under his pen deformation, strangely, full of mystery and deterrence.
We introduce "from the venerable sixteen Arhats map", the like and ajita you like.
From Luo Thera was a brave warrior, later a monk, but did not get rid of the wild for combat, abandon his boorish personality, Buddha let him to meditate. Later from Luo was venerable although Lohan, but he still had a sit in the mighty gas. "Sixteen arhat pursues" distance in Luo venerable yingmu Saiga, hands to shape, qiyuxuanang, heroic. The staff in the ancient wooden reclining seats, seat armrest arms was the first model, the whole picture is vivid, harmony. The author of the head, the hand bones shape was exaggerated, and dyed with uneven ink, very realistic three-dimensional effect.
The legend of ajita sage born with two long white eyebrows, so called "Xiucheng arhat, long eyebrowed arhat". In the long eyebrowed arhat mouth grin, bright eyes. The two of Hoolock long eyebrowed arhat were described in detail: Hoolock foot feet, drooping cheeks along the figure to his chest, one is holding hands twist. Characterization of the left ear is also extremely exaggerated, large ears and chin line parallel to the lower lobe, and the head was square. The dress in yellow plaid with fine line painting pattern as a background, painted stone, dragon figures or tree. The author with meticulous accuracy, almost to the extent of the work detail.
"" no matter from the sixteen Lohans map creation style point of view, or from the view of painting techniques, has always been a high evaluation. The painting is fine but concise and elegant, long line without stop, turning round, heavy feeling. "Praised the" Xuanhe Huapu Guanxiu "Sixteen Arhats map" and said: "Dan Xi, not all the strange ancient Mei, sixteen Arohan, without the use of ink pen slightly secular, writing has shaped features, nor the world all are approximate."artistic value
Guanxiu paintings in the masterpieces of ancient Buddhist art; painting; the five generation of the Buddhist figure painting of a typical weird.
Voiceover is Max Carol's view that this arhat image reflects the Buddhist destruction and disaster in ninth Century by the persecution of the. Then the Buddhist temple in Chinese is almost extinct in the paintings of Arhats is a weak step after calamity survivors, and suffering painful memories of the war years.
Historical records
According to historical records, this "Sixteen" should be like painting began in the reign of emperor Tang Guangming (A.D. 880), to the qianning early to complete 16 frames, with around 10 years to complete the creation. The period of the Five Dynasties, Guanxiu to escape the war came to a relatively stable West Sichuan, "Sixteen" should be like will be brought to Sichuan. Since then, across the country, after suffering.
"The five generation of Guanxiu sixteen Arhats map: Hangzhou historic monument": Five Dynasties "Sixteen monks this should be like", is between Tang and Song Dynasty ink painting handed down masterpiece of religion. Guanxiu (832 - 912), formerly known as Jiang Deyin, Zhejiang, Lanxi. 6 year old monk, handwriting and painting, "Jackson hogetsu", is the late Tang and Five Dynasties famous poem monk and the monk painting. Guanxiu life, travel is wide, and can be good poetry painting, painting has influence in the forest. In particular, the painting of Rohan, Juesu Maria, the evaluation is very high. The image of exaggerated deformation, different people. Guanxiu himself painted arhat image of the strange origin "as seen from the dream". "Sixteen" should be like a future model copying and sculpture arhat statues.
At the beginning of the Qing Dynasty, "Sixteen" should be like Zhejiang Qian Tang Shengyin temple income. Twenty-two years of Qianlong (1757 AD), Emperor Qianlong's southern tour in Hangzhou, West Lake. One day, go Shengyin temple to enjoy this painting, exclaim, endless emotion. According to him "the Vatican" correct the painting of the original title of Rohan, and wrote the eulogy. "Qianlong imperial title like" said: "Tang Guanxiu painting" Sixteen "should be like, since thousands of years has spread down gmy, Zhejiang, and hidden in the Qian Tang Shengyin temple. Qianlong Dingchou February in West Lake's palace, temple worship for a view of it, the pen is also a letter. The venerable name, along with translation.
Painters Biographies
Guanxiu, (823 to 912), surnamed Jiang's words vulgar, implicit, Wuzhou blue exclusion (said Jiangxi Jinxian county), the late Tang and Five Dynasties famous monk painting. At the age of 7 he voted in Lanxi and an Si Zhen Tong Shi Jackson became a circle. Guanxiu good memory, on the song "Lotus Sutra" 1000 words, gifted with an extraordinary retentive memory. Guanxiu and good poems, often at the silent monk and hedges of poetry, or yin or sing, I find, see who are amazing. Guanxiu ordained after poem rilong, still known as. Dry two years (in the last 915 years) at last, the life of the life of the 81.
Guanxiu had to Yuzhang (now Jiangxi Nanchang) biography "Lotus Sutra", "faith in Mahayana theory", "Upanishads are fine, speaking and training ground", as the prefecture of Wang Zao heavy esteem. After leaving Wang Zao, the new prefect Jiang Gui developed Chan jietan, also please Guanxiu as the supervisor of the altar. Also called monk guanxiu.