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.

Key words: Qiongzhu Temple, Five Hundred Arhats, statues, historic background, artistic style, LI Guangxiu