|
|
|
 |
|
|
|
|
|
|
聖與俗的象徵建構 ─ 以夏荊山居士的〈竹林七賢圖〉為分析=Symbolic Construction of The Sacred and the Profane: Analysis Based on Xia Jing Shan’s Seven Sages of the Bamboo Grove |
|
|
|
| Author |
范俊銘 (著)=Fan, Chun-Ming (au.)
|
|---|
| Source |
夏荊山藝術論衡=Journal of Xia Jing Shan's Art
|
|---|
| Volume | n.9 |
|---|
| Date | 2020.03 |
|---|
| Pages | 59 - 76 |
|---|
| Publisher | 財團法人夏荊山文化藝術基金會 |
|---|
| Publisher Url |
http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
|
|---|
| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
|---|
| Content type | 期刊論文=Journal Article |
|---|
| Language | 中文=Chinese |
|---|
| Note | 范俊銘，政治大學宗教研究所博士候選人
本文初稿發表於「2019年夏荊山學術研討會」，承蒙評論人臺南美術館潘襎館長和臺北教育大學人文藝術學院郭博州院長等，惠予寶貴評語，謹此謝承。
Fan Chun-Ming, PhD Candidate at the Graduate Institute of Religious Studies, National Chengchi University |
|---|
| Keyword | 聖與俗=Sacred and profane; 象徵建構=symbolic construction; 夏荊山居士=Xia Jing Shan; 竹林七賢圖=Seven Sages of The Bamboo Grove |
|---|
| Abstract | 本文、前言：神聖與世俗，如同兩極對立的關係；但亦有另一層面的解釋，從世俗面跨越到神聖面，二者之間有象徵作為橋梁，連結這二層面的相接；神聖藉由世俗物體（或物件、實體等）作為象徵，可以展現出神聖的向度。神聖與世俗的論點不僅適用於宗教層面，也可應用在常人的周遭生活；藉由世俗物體，透過象徵的功能性，轉換為神聖的空間或時間，如自然景物、藝術圖像、文字書畫、圖騰標誌等，亦可發揮其象徵建構的功能。
其次、核心理論——聖與俗的象徵建構：探討神聖與世俗的理論概說、象徵建構的功能等，神聖與世俗的對立共存、或對立並存，在現世生活中，大體是通過「象徵」達到，伊利雅德稱之為「神話模型」（the mythical pattern）；神聖與世俗的對立，不單是屬天與屬地的兩極對立範疇，以光明與黑暗、仁慈與戰慄、白晝與黑夜、創造與滅亡等亦可作為矛盾的說明，神聖與世俗不僅僅是建構於宗教與非宗教的概念，也是存在於常人的日常生活中。
象徵作為神聖與世俗的連接，在諸多神話故事中，多以懸崖、峭壁、冰山夾縫、神祕山口等，幾乎是不存在、詭譎的通道，作為從世俗到神聖、地域到天堂的象徵體系；在宗教的層面而言，象徵指出常人參與的真實處境，藉以活在神聖、奧秘的範圍，說出常人與宇宙的對應位置。
第三、以夏荊山居士的〈竹林七賢圖〉為分析：神聖與世俗的對比，藉由象徵作為聯絡，使世俗事物可以因此轉換為神聖時間、或神聖空間；藝術圖像可以作為象徵的功能性表示，一面視為創作者的藝術作品，另一面則表現出創作者的內心境界。藉由觀賞、注視創作者的創作，可以進入其另一層面的更深意涵，如同世俗轉換至神聖的象徵。
第四、結論：按伊利亞德的觀點而言，神聖與世俗是常人生活的一體兩面；神聖的體驗有超越常人日常經驗之向度，神聖的特質是透過世俗事物的顯現，在日常生活中，向常人揭示何謂「神聖」。常人藉由神聖空間、神聖時間的臨在，渴望在日常生活中，尋求存在的秩序和超越；體驗神聖的同在，在秩序之中超越物質的世俗層面。
I. Preface: There exists a dichotomy between the sacred and the profane; however, this relationship could also be interpreted differently, and it has to do with symbolism serving as a bridge when the profane crosses into the sacred realm, as the bridge links together the two sides. To show the dimensionality of the sacred, the sacred uses profane materials (objects, physical entities, etc.) as symbols. This notion of the sacred and the profane not only applies to religion but could also be applied to everyday ordinary life. Through symbolic functions expressed via profane materials, sacred spatiality or temporarily is then transformed; for ex-ample, natural landscapes, visual art, words, motifs, or icons could be used to showcase the purpose of such symbolic construction.
II. Core Theory – Symbolic Construction of the Sacred and the Profane: The sacred and profane theory, the purpose of symbolic construction, and the oppositional coexistence or juxtaposition of the sacred and the profane are examined, which in the modern time is gener-ally achieved through ―symbols‖; Mircea Eliade referred to this as ―the mythical pattern.‖ The opposition between the sacred and the profane extends beyond the two polar opposites of heaven and earth. The sacred and the profane are more than just a concept built upon reli-gious or non-religious ideas; it also exists in ordinary people’s everyday lives.
Symbol serving as a link between the sacred and the profane could be seen in many mythical stories, and often in the form of a cliff, a crack on an iceberg, or a mysterious cave; these symbols that connect the profane to the sacred, from earth to heaven are nearly always peculiar passageways with an elusive existence. Religiously speaking, symbols indicate the real scenarios of mortals’ involvement, and through living in the parameters of the sacred or the mysterious, the corresponding positions of mortals and the universe are thereby conveyed.
III. Analysis Based on Xia Jing Shan’s Seven Sages of Bamboo Grove: Comparing the sacred and the profane, by using symbols as a connector, profane occurrences and things could then be converted into a sacred time or space. Images of art could display the function-al purpose of symbols. At the one hand, they are seen as artworks created by artists, and on the other hand, they also show the inner mindsets of the artists. Through appreciating and seeing the artists’ creations, one could also enter into another dimension, one that holds a relatively more profound significance, which echoes with the symbolic conversion of the profane into the sacred.
IV. Conclusion: Referencing Eliade’s perspective, the sacred and the profane are two embodiments of the same idea. Sacred experiences could surpass the dimension of ordinary experiences, and the notable features of the sacred manifest through profane occurrences and things, with so-called ―sacredness‖ reveal to ordinary people in their everyday lives. Through the presence of sacred space or time, ordinary people yearn for and search for the existence of order and transcendence in the |
|---|
| Table of contents | 壹、前言 62
貳、核心理論：聖與俗的象徵建構 62
一、神聖與世俗的理論概說 62
（一）神聖空間 64
（二）神聖時間 65
二、象徵性的建構功能概說 66
參、以夏荊山居士的〈竹林七賢圖〉為分析 67
一、竹林七賢圖的歷史透視 68
二、夏荊山居士之〈竹林七賢圖〉 69
（一）神聖空間：自然圖景 69
（二）神聖時間：人物、髮型與古籍 71
（三）象徵性的建構功能 72
肆、結論 73 |
|---|
| ISSN | 24126233 (P) |
|---|
| Hits | 625 |
|---|
| Created date | 2020.04.06 |
|---|
| Modified date | 2022.03.07 |
|---|
 |
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
|
|
