一葉一如來——弘一法師美育特質啟迪書藝創作之研究=""Yi Ye Yi Ru Lai""-the Study of How Master Hong-Yi's Views about Aesthetic Education and His Virtues Enlighten the Creantion of Paintings and Penmanship
Master Hong-Yi, Shu-Tong Li(1880-1942) had a number of subtle stories influencing later generations. In recent Buddhism and history, he played an important role. Although the master was dead for seventy years, there are still many adorers holding the memorials around the world. They sing his poems, and display his books and paintings. Many people were moved by his biography and then learned Buddha dharma to correct their behaviors and minds. In addition to Art and Buddhism, the master’s virtues and manners also affected people. Owing to the demand and practice of the aesthetic education, uncommon value was shown in his life. He emphasized the characters, and that was the first point when he taught. The principle of“What you do, and what you are.” deeply inspired the later learners. After becoming a nun, he held the religious taboos and pronounced the appellation of Budda. Besides, he let people follow the laws of Buddha by the penmanship.
Because of learning the laws of Buddha and having an interest in paintings and penmanship, I observe the master’s manners and morals, discuss his views about the aesthetic education, and learn his spirit. With the penmanship, I can correct my behaviors and minds. Moreover, the understanding of the Buddha dharma enlightens the creation of paintings and penmanship. In addition, learning the laws of Buddha and arts can expand my views and make me live with ease. Learning the master’s connotation and religious spirit to combine penmanship with Buddha dharma is a good opportunity for me to grow.
The points of the chapters in this thesis are as follows. Chapter one explains the motivation and purpose of studying how Master Hong-Yi’s views about aesthetic education and his virtues enlighten the creation of paintings and penmanship. The method, scope, and the explanation of the nouns are also included in this chapter. Chapter two summarizes the master’s life and learning experiences. He contributed his art talent to education and then learned Buddha dharma. In addition to holding religious taboos, he let people follow the laws of Buddha by the penmanship. Chapter three organizes the master’s views about the aesthetic education and his virtues. He especially emphasized one’s moral characters. Besides, the master’s goodness that came from Confucianists to Buddhism and from taboo to solemn can be seen in his penmanship. This chapter tries to list how the master’s virtues were combined with the penmanship. Chapter four mainly focuses on the ideas of how I create the display of “Yi Ye Yi Ru Lai”. In addition to my learning process and experiences, the master’s views about the aesthetic education and his virtues also let me understand the effects of penmanship. Chapter five describes the contents, the materials, and the skills of the paintings and penmanship. Chapter six presents the display of “Yi Ye Yi Ru Lai”with pictures. It includes the explanation of the works, the presentation of the skills, and the self examinations of the creation. Chapter seven is the concl
