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| 著者 |
夏美玉 (著)
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| 掲載誌 |
多元的傳承：馬來西亞佛教的實踐：第二屆馬來西亞佛教國際研討會論文集=Multi Tradition: The Practice of Malaysian Buddhism: Proceeding of the 2nd International Conference on Malaysian Buddhism
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| 出版年月日 | 2017.09 |
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| ページ | 173 - 184 |
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| 出版者 | 馬來西亞佛教學術研究會=Buddhist Research Society of Malaysia |
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| 出版サイト |
http://www.brsm.org.my
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| 出版地 | Petaling Jaya, Selangor, Malaysia [八打靈再也, 雪蘭莪州, 馬來西亞] |
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| 資料の種類 | 會議論文=Proceeding Article |
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| 言語 | 中文=Chinese |
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| 抄録 | 竺摩法師有詩書畫三絕之稱。其作品之多，隨到寺院一走，多能遇見法師的墨寶。竺摩法師的藝術創作對大馬佛教徒乃至藝文界的影響甚巨，然而目前學界尚缺乏這方面的研究，所以本文試圖作一突破，探究法師的繪畫創作。本文首先整理竺摩法師習禪的經歷，作為討論其畫中禪機的基礎，其次分析其畫作的禪機。法師先學佛禪而後學畫，所以他深厚的佛理與累計多年的修為，恰好成為其繪畫創作的原動力。法師之畫，承自嶺南大師高劍父。嶺南畫派重視創新，與法師瀟灑的個性極相應。他以禪之當下頓悟，不假思維造作，融入繪畫創作中，故法師的作品，尤其人物畫，如觀音、羅漢、無量壽佛、布袋和尚等，皆瀟灑脫俗，且暗藏禪機。法師主張以藝術為弘揚佛教之用，所以他的畫多雅俗共賞，使賞畫者能輕易接受其畫，進而品味其畫里蘊含的無限禪機。如聽瀑觀音圖，以諸般對立顯現平衡和諧的世界，以人物的自在與專注，呈現悲智雙運的圓融境界。又如布袋和尚圖，明明畫得一派歡樂，卻叫人一參生與死、佛與魔。可以說，法師的畫，是接引眾生向上超脫之畫。
Master Chok Mor was best known certainly and highly talented in his poetry, calligraphy and painting. Walking around the temple premises, one will be able to enjoy many of Master’s works and masterpiece at every corner. However, the present academic circle still lacks this aspect of such the research in Master Chok Mor’s art piece although his works having highly influential towards Malaysian Buddhists and artistic circle. Therefore, this article attempts to make a breakthrough in order to perform a thorough
exploration into the Master’s paintings. First of all, this article reorganizes systematically about Master Chok Mor’s experience in Zen practice to further discuss the foundation as the base with his profound and abstruse principles in the paintings. Secondly, it is followed by the analysis of Master’s principle of Zen elements applied in the paintings. The Master studied Buddhism and Zen retreats before he learned to paint. Since then, Master already had cumulative years of profound Buddhist knowledge and cultivation. This exactly gave fresh impetus to the cause in his paintings. Master Chok Mor's skill was inherited from Mr. Gao Jianfu who founded the Lingnan school of art painting. Mr. Gao was known as the Lingnan Master with his emphasis valued on painting innovation. This school matched very correspondingly and naturally to Master Chok Mor's personality. The Master’s epiphany moment of Zen mixed well with his non affected cogitation abilities integrated gently in the works creation. Undoubtedly, the secret of profound and abstruse principles of Zen could be found on the Master’s works. The Master’s natural refined personality is well portrayed in his works, in particular the portraits, such as Avalokiteśvara Bodhisattva, Arahant, Amitāyus, Cloth Sack Buddhist Priest, etc. The Master advocated art aimed to promote Buddhism. Therefore, his literary and art works appeal to both cultured and popular tastes. General public can easily accept the Master’s paintings and enjoy his works. Thus, one could savour infinite allegorical words which are contained in his paintings, for instance, the figure of ‘Contemplation on the Sound of Waterfall’ which portrays all sorts of the antithesis in showing the balance and harmony world. In addition, the figure shows also the character at ease and focused before it emerges further into the harmony state of compassion and wisdom. Another fine example is the figure of‘Cloth Sack Buddhist Priest’, which obviously painted in the greatest standard of happiness and joy; yet the figure seems actually calling the beings to comprehend in understanding the real meaning of life and death; the Lord Buddha and the devil. In summary, Master Chok Mor’s paintings seem could lead beings towards renunciation by freeing oneself from attachments and suffering. |
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| 目次 | 摘要=Abstract 173
一、前言 174
二、略說禪畫與禪機 174
三、竺摩法師的學畫過程和創作的特色 175
四、竺摩法師的禪修經歷 176
五、畫里禪機 177
(一)《聽瀑觀音圖》 178
(二)以布袋和尚為主题的畫 179
(三)《長眉羅漢戲猿圖》 181
(四)《無量壽圖》 182
(五)《葡萄熟了》等 182
六、結論 184
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| ISBN | 9789671009123 |
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| ヒット数 | 116 |
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| 作成日 | 2023.12.06 |
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| 更新日期 | 2023.12.06 |
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