罗汉画像在美术题材中属于较晚独立的一种,这一题材的画像以现有存世作品来看,有相当多的是以群组的面目而出现。现存的罗汉画像就表现的形式分为十六罗汉、十八罗汉、五百罗汉等,一般认为这种形式是从唐僧玄奘翻译了《法住记》之后,才大量出现的。这种观点与历史实事大体相符是否巧合,为什么《法住记》的译出会成为罗汉群组画像的分水岭,引起笔者 The portraits of Luo Han belong to the late independent one in the art subjects. The portraits of this subject appear in the existing existential works, and quite a few appear in groups. The existing portrait of Lohan is divided into sixteen arhats, eighteen arhats, five hundred arhats, etc. in the form of performance. It is generally believed that this form appeared only after it was translated from the Tang Sang Xuanzang. Why does this view consistent with the historical facts generally coincide? Why is it that the translation of “Dharmazaburi” would become the watershed of the group of portraits of the Lohan and cause the author