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文化傳承與創新：夏荊山其人其事與佛畫藝術析論=Cultural Restoration and Innovation: The Life Story of Jing-Shan Xia and His Buddhist Painting |
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| Author |
侯皓之 (著)=Hou, Hau-chih (au.)
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| Source |
夏荊山藝術論衡=Journal of Xia Jing Shan's Art
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| Volume | n.1 |
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| Date | 2016.03 |
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| Pages | 75 - 111 |
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| Publisher | 財團法人夏荊山文化藝術基金會 |
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| Publisher Url |
http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者為中國文化大學數位媒體學士學位學副教授 |
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| Keyword | 夏荊山=Jing-Shan Xia; 佛教繪畫=Buddhist painting; 文化傳承=cultural restoration; 歷史記憶=historical memory |
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| Abstract | 中國書法繪畫是獨特的藝術表現，依工具、材質、表現形式、文化思維與審美觀點而產生極具特色的藝術形態，因此探討中國書畫不僅要從外在的線條、造形、色彩、構圖等切入，更要從文化思想與主題意識進探究，再加以每位創作者的人格特質與生命體驗更豐富了其創作的內涵與知識。
夏荊山先生年輕時即從名師學習丹青，而後又遍訪名師，研學花卉、人物、仕女、山水等繪畫技法，此後皈依佛門，鑽研佛法，透過藝術創作不斷深入鑽研佛教繪畫，歷經多年積累，主題構思與表現技法日益精湛巧妙，深有古趣。中華文化的特色是海納百川，所以精深廣博，佛教傳入中國，經不斷的發展漢化，與儒道共為中華文化的三大支柱。夏荊山先生承襲中國繪畫的文化特質，從中國傳統畫科出發，進一步發展至佛教藝術，致使其佛畫融合中華文化的底蘊與特色，故被大陸書畫界所推崇。
本文擬從夏荊山先生生命歷程切入，認識其生命歷程與創作的關係，進而觀察其公益舉措，了解其思維，最後分類析論其佛畫作品，探尋其造像源流與藝術特色，藉由思想、藝術表現、具體行動等探究夏荊山先生的文化記憶與傳承，為中國書畫藝術的傳承與發展提出建言。
Chinese calligraphic painting is a unique performance of art, a particular genre that is shaped by painting tools, painting materials, forms of expression, cultural thinking and aesthetic viewpoints. As a result, the discussion on Chinese calligraphic painting requires not only the observation of exterior lines, forms, colors, and compositions but also meditation on the cultural thinking and the consciousness embedded in the painting subjects. Furthermore, understanding the painter’s personality and life experience will also enrich the knowledge of his/her works.
Mr. Jing-shan Xia learned Chinese painting from famous painting mentors when he was young. He then visited many eminent painting masters and Furthermore flower painting, figure painting, lady painting skills, and mountain river painting skills. After that, he converted to Buddhism and dug into Buddhist Dharma and painting through his continued art creation. With years of experience, Xia had developed his theme conception and painting skills in a more delicate and antique way.
Chinese culture, which is like the sea into which the rivers run, is extensiveand profound. When Buddhism was introduced to China, it had been was Chinesized and became one of the three pillars of Chinese culture, along with Confucianism and Taoism. Mr. Jing-Shan Xia, who adopted the cultural characteristics of Chinese painting, combined Buddhist painting with the content and characteristics of Chinese culture as he polished and developed his painting from traditional Chinese painting to Buddhist arts. Therefore, Xia is considered a significant figure in mainland China’’s calligraphy and painting circles. This essay starts with the life story of Mr. Jing-Shang Xia to learn the relationships between his life experiences and his painting. Then, it focuses on his behaviors for public interests as a way of exploring his thinking. and finally, categorizes and analyzes his Buddhist works to investigate the origin and development of the forms and features of his painting. By discussing Mr. Xia’s cultural memory and heritages represented by his thought, artistic expression, and specific behaviors, this essay aims to provide suggestions for the restoration and development of Chinese calligraphy and painting. |
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| Table of contents | 壹、前言 78
貳、生命歷程 79
(一)青年學畫 79
(二)參軍來臺 80
(三)皈依三寶 81
(四)移居美國 82
(五)創辦畫院 82
(六)藝術成就 82
參、利眾義舉 85
一、創辦畫院 85
二、重修龍興 86
三、策劃戲劇 88
肆、法相源流 90
一、佛 92
二、菩薩 93
三、羅漢 99
四、護法 102
五、高僧 104
伍、結語 106
(一)拍攝紀錄片 106
(二)建立資料庫 106
(三)加值再利用 107
(四)標註與說明 107
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| ISSN | 24126233 (P) |
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| Hits | 317 |
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| Created date | 2016.10.05 |
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| Modified date | 2020.06.15 |
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