|
 |
|
|
|
|
|
|
曉雲法師禪畫中的《高僧山居詩》之研究=The Study of the Poem Eminent Monk in the Mountain Abode within the Zen Painting of Ven. Hiu Wan |
|
|
|
| 作者 |
汪育朱 (著)=Wang, Yu-chu (au.)
|
|---|
| 出版日期 | 2022 |
|---|
| 頁次 | 123 |
|---|
| 出版者 | 華梵大學 |
|---|
| 出版者網址 |
https://www.hfu.edu.tw/
|
|---|
| 出版地 | 新北市, 臺灣 [New Taipei City, Taiwan] |
|---|
| 資料類型 | 博碩士論文=Thesis and Dissertation |
|---|
| 使用語言 | 中文=Chinese |
|---|
| 學位類別 | 碩士 |
|---|
| 校院名稱 | 華梵大學 |
|---|
| 系所名稱 | 美術與文創學系碩士班 |
|---|
| 指導教授 | 黃智陽 |
|---|
| 畢業年度 | 110 |
|---|
| 關鍵詞 | 曉雲法師=Ven. Hiu Wan; 高僧山居詩=Eminent Monk in the Mountain Abode; 憨山大師=Master Hanshan; 禪詩=Zen poem; 禪畫=Zen painting |
|---|
| 摘要 | 本文主要探討《高僧山居詩》對曉雲法師在文學、藝術創作與宗教修養方面的啟迪與影響，以了解其如何透過與禪詩的對話、冥思、體會，轉化成生命動力與禪畫藝術，具體實踐「藝通乎道而藝與道合」之理想，期使這些過程與轉捩點能帶給新一代藝術創作者、欣賞者啟發與反思。曉雲法師生於二十世紀初，自幼受私塾教育之影響，讀古書背詩詞，奠定其國學底蘊；後接受美術學院教育，拜「嶺南三家」之一高劍父為師，二十二歲即任教杏壇；而後参學印度，經歷「西南行」、「東南行」、「寰宇周行」等各國考察並推動文化交流；中年機緣成熟出家，依止天台倓虛大師座下；晚年更以推動「覺之教育」理念辦校興學。其生平之見識、膽識 、學識及多方面的才華成就，都令人景仰學習。而其上求下化之心殷切，縱使事務忙碌，依然閱讀、進修、禪坐，常手執《高僧山居詩》並讀憨老《夢遊集》前後達六十餘年，因緣至深。常說經典好書值得一讀再讀，諸多禪語詩偈皆是歷代祖師嘔心瀝血、實修實證的結晶，當自珍惜反芻。這些詩偈對其而言常透露著宇宙實相的消息，給予創作的靈感，由文字般若帶入藝術三昧；其亦將禪詩意境帶進禪畫世界，實踐其美學教育與宗教關懷。本論文將藉由《高僧山居詩》中七個禪師的詩偈與曉雲法師以禪畫再演繹的過程，探究其如何突破與轉化，如何結合中華文化與佛教義理帶給大眾心靈淨化提升的途徑，以供後者參酌發想與學習。
"This dissertation explores how the poem Eminent Monk in the Mountain Abode enlightened and influenced Ven. Hiu Wan in her literature, artistic creations, and religious cultivations, as well as understand how she transforms the conversations, meditations, and experiences with Zen poetry into motivations for life and Zen art, putting into practice the ideals of “reaching Taoism through art, bringing art and Taoism together as one.” Then further asking the questions of what these processes and critical junctures may bring to the new generation of artists and viewers. Born in the early 20th century, Ven. Hiu Wan has been influenced by traditional Chinese private school education from a young age, laying the foundations in Sinology through studying ancient literature and reciting poems. She continued her education in art college, under the teachings of Gao Jian-Fu, the forefather of painting, and assumed the role of teaching at the age of twenty-two. Ven. Hiu Wan later traveled to India, in pursuit of knowledge in Buddhism, experiencing “Travels to the West,” “Travels to the East,” and “Travels around the Globe,” during which she visited various countries to promote cultural exchange. When she reached her middle-ages and the opportunity was ripe, Ven. Hiu Wan became a Buddhist nun, taking refuge under Master Tan Shu of Tiantai Buddhism. She carried on promoting “Enlightenment Education” in her old age, and established schools under such concept. Ven. Hiu Wan’s lifetime of insights, courage, knowledge, as well as various talents and achievements are learning aspirations. Though busy with many affairs attend to, Ven. Hiu Wan’s eagerness to attain knowledge of Buddhism and solicit sentient beings motivates her to continue reading, engaging in advanced studies, and meditating, often with the poem Eminent Monk in the Mountain Abode in hand, studying Master Hanshan’s Collections of Dream-Walking (Mengyouji) for over sixty years in total. Over such a long period of time, Ven. Hiu Wan built a profound Karma with liberal praxis. They say that classics are worth poring over and over again. Many Zen idioms and verses are the results of praxis and pragmatic of generations of masters pouring their hearts and souls out, for one to cherish and reflect upon. These poems often reveal the truths of the universe, and provide inspiration for creativity, bringing readers into the Samadhi of art through Prajna, and additionally bringing the artistic conception of Zen poetry into the world of Zen paintings, putting into practice aesthetics education and religious heed. As the saying goes, to know a person is to observe the reading materials. Through the verses of the seven Zen masters within the poem Eminent Monk in the Mountain Abode, and with Ven. Hiu Wan using Zen painting as a process of reinterpretation, this dissertation explores how Ven. Hiu Wan breaks through, converts, and combines Chinese culture and Buddhism teachings, bringing people an approach towards purifying and elevating the soul, as well as providing reference for inspiration and learning for generations to come. |
|---|
| 目次 | 誌謝 I
摘要 II
ABSTRACT III
目次 IV
緒 論 1
第一節 研究動機 1
第二節 研究目的 1
第三節 研究方法 2
第一章 曉雲法師生平與其藝文成就 3
第一節 生平概述 3
一、成長過程 3
二、人格形成 5
第二節 藝術之路 10
一、藝術創作與學習歷程 10
二、藝術美學的觀點 18
三、藝文的成就 20
第二章 人的因緣：一探畫中消息 24
第一節 《高僧山居詩》的禪師 24
第二節 《高僧山居詩》與曉雲法師的一倡三歎 53
一、一倡 佛教教理般若現—薪火相傳，虛空觀月 53
二、二暢 以心印心道不孤—知音相惜，千古回音 55
三、三唱 眾流入海法音盪—詩畫相和，華梵弘願 57
第三章 境的體悟：天地山水有無間 59
第一節 文人、僧人與山居自然環境 59
第二節 禪詩禪畫與環境、心境、悟境 64
第四章 曉雲法師的禪畫與山居詩圖列對照 69
第一節 山居詩畫的比較 69
第二節 山居詩意改變之禪意 96
結 論 105
參考文獻 |
|---|
| 點閱次數 | 121 |
|---|
| 建檔日期 | 2022.10.13 |
|---|
| 更新日期 | 2023.01.18 |
|---|
 |
建議您使用 Chrome, Firefox, Safari(Mac) 瀏覽器能獲得較好的檢索效果，IE不支援本檢索系統。
|
|
