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釋聖嚴藝術觀點之探究=A Study on Sheng Yen's Perspective on Art |
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紀俊吉 (著)=Chi, Chun-chi (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.4 |
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| Date | 2017.09 |
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| Pages | 57 - 83 |
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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 | 作者為國立雲林科技大學通識中心兼任助理教授 |
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| Keyword | 中華禪學鼓宗=Dharma Drum Lineage of Chan Buddhism; 禪宗美學=Zen aesthetics; 傅偉勳=Charles Wei-Hsun Fu; 人間佛教=Humanistic Buddhism; 創造的詮釋學=creative hermeneutics |
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| Abstract | 本文主旨在探究釋聖嚴（1930-2009）對於藝術領域的觀點與概念。聖嚴認同佛教與藝術的關係多元繁複，對佛教而言甚為關鍵。但聖嚴對藝術的洞見散論於各項著作裡，缺乏系統性釐清。
本文問題意識在於：聖嚴對藝術的具體觀點為何？乃以哲學詮釋學作為基礎，再引進「創造的詮釋學」概念進行研究，探勘聖嚴基於佛教立場上的藝術觀點及其深層意涵。依此，本文試圖論證：一、聖嚴的「藝術」觀必然是佛教的藝術觀，融入其對禪學的觀點及體驗；二、聖嚴應用藝術的表面目的是為了傳教；三、佛教徒參與藝術活動的深層內涵是為了輔助修行，觀照及調伏情緒；四、佛教中的藝術品創作者當帶有宗教信仰的崇敬感，並反映出個人對佛教的理解與詮釋；五、在佛教藝術裡，「真、善、美」的順序上，必定要以「善」為核心價值，而這一個「善」的界定則是基於佛教立場的觀點。
研究結果：一、澄清聖嚴對於「藝術」的想法；二、解讀聖嚴眼中「藝術」的作用；三、歸納聖嚴思想中「藝術」對佛教的意義；四、分析「藝術」所帶來的情緒與佛教修行的關係，並呈現聖嚴的調和主張；五、架構聖嚴「藝術」觀點的「整全的多層遠近觀」內涵。文末，針對聖嚴藝術層面觀點進行評論，與本研究未盡之處，以指出後續可延伸的研究方向。
The objective of this essay is to explore the perspective and concepts on art embraced by Master Sheng Yen (1930-2009). Sheng Yen believed that the connection between Buddhism and art is diverse and complex and is integral to the religion. However, Sheng Yen's insights on art are widely dispersed in various writings, lacking systematic organization. This essay looks at the question of ＂What was the concrete view on art held by Sheng Yen?＂ The study is conducted with philosophical hermeneutics as the foundation and then further introduces the concept of creative hermeneutics, with Sheng Yen's perspective on art and other profound significance examined.
Bearing this in mind, this study seeks to argue the following: 1. Sheng Yen's perspective on art is one that is indubitably based on Buddhism, with his views and realizations on Zen studies incorporated; 2. On the surface, Sheng Yen's objective for applying art is to spread the teaching of his religion; 3. Buddhist practitioners engage in artistic activities in order to support their religious training, to help with reflection, and to tame emotions; 4. Makers of Buddhist art should revere the religion and reflect their personal understanding and interpretation of the religion; 5. Buddhist art must place the value of ＂benevolence＂ in ＂truth, benevolence and beauty＂ at its core, and the definition of ＂benevolence＂ here must adhere to the perspective upheld in Buddhism.
Research Conclusion: 1. Clarify Sheng Yen's thoughts on art; 2. Interpret how Sheng Yen regarded art's purpose; 3. Sum up Sheng Yen's thoughts on art's meaning for Buddhism; 4. Analyze the connection between the emotions evoked by art and Buddhist training, and present Sheng Yen's advocacy for eclecticism; 5. Construct Sheng Yen's perspective on art based on ＂the comprehensive multi-layered far-and-near perspective＂. Lastly, critiques are made on Sheng Yen's art perspective, with unexamined aspects in this study pointed out for further research in the future. |
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| Table of contents | 壹、緒論 59
一、研究背景與問題 59
二、研究方法與引文格式 60
貳、聖嚴「藝術」思想的「實謂」與「意謂」 60
一、從「實謂」層面的討論 60
二、從「意謂」層面的討論 62
參、聖嚴「藝術」思想的「蘊謂」 66
肆、聖嚴「藝術」思想的「當謂」與「創謂」 69
一、從「當謂」層面的討論 69
(一)聖嚴思想中觀賞藝術的視野 69
(二)聖嚴思想中創作藝術的原則 72
二、從「創謂」層面的討論 78
伍、結論 80
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| ISSN | 24126233 (P) |
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| Hits | 323 |
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| Created date | 2018.09.03 |
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| Modified date | 2020.06.17 |
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