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拜觀夏荊山居士中國佛像畫集有感=Reflection on Viewing Master Xia Jing Shan’s Chinese Buddhist Painting |
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| 著者 |
黃華源 (著)=Huang, Hua-yuan (au.)
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| 掲載誌 |
夏荊山藝術論衡=Journal of Xia Jing Shan's Art
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| 巻号 | n.1 |
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| 出版年月日 | 2016.03 |
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| ページ | 57 - 73 |
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| 出版者 | 財團法人夏荊山文化藝術基金會 |
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| 出版サイト |
http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
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| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| ノート | 作者為國立臺灣藝術大學書畫藝術學系助理教授 |
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| キーワード | 夏荊山=Xia Jing Shan; 中國佛像畫集=Chinese Buddhist art collections; 工筆寫意=freehand brushwork |
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| 抄録 | 夏荊山居士早年旅台，後移居海外，晚年回歸故里，於大陸宗教藝術界頗孚眾望。《夏荊山居士中國佛像畫集》揭載最早之作品，為1968年之〈羅漢〉畫像；其次為1970年作〈竹林七賢圖〉，與〈桃李夜宴圖〉。夏居士於1971年移居美國加州，這是畫集中僅有的台灣時期畫作。而〈桃李夜宴圖〉款書則透漏了夏居士在台之齋室，「一塵丈室」由來之訊息。又本畫集除佛、菩薩造像之外尚有〈羅漢像〉、〈竹林七賢圖〉、〈高士圖〉、〈八仙圖〉、〈鍾馗〉…等，若謂為〈中國道釋人物畫集〉似更適切。
畫中款書所見創作地點包括，台灣一塵丈室、洛杉磯(洛省)、日本京都雲峰山莊、京都慶南畫苑、北京震南畫苑、北京畫苑、北京慶南畫苑、山東濰坊等。依序呈現的路徑，正是夏先生一路奔波，也是溯源歸鄉的軌跡。
畫集簡介提到，夏居士1971年移居美國後，曾參訪世界各大博物館，並致力於佛教繪畫藝術之研習。此提示，說明其畫作之佛教造像元素，與博物館收藏之關係，文中例舉：〈釋迦出山圖〉、〈蘇州瑞光塔四天王木函彩畫〉等，作為全面摹寫型態之參考。而〈普賢菩薩像〉則見元素源於不同出處的摻合。從繪畫技法而言，工筆寫意兼具也是其繪畫特色之一。
During his youth, Master Xia Jing Shan lived in Taiwan and then went overseas. He returned home in later years. He has been a prominent figure in the field of religious arts in China. In his published work, “Master Xia Jing Shan’s Chinese Buddhist Painting Collection,” there collected his earliest work of “The Arhats” he painted in 1968 followed by “Seven Worthies of Bamboo Grove” and “A Night Banquet in Taoli Yuan” in 1970. Master Xia then moved to settle down in California, the US in 1971. These paintings are the only collections that he painted in Taiwan. “A Night Banquet in Taoli Yuan” reveals the creation site of Master Xia in Taiwan, “I Chen Zhang Shi.” In addition to Buddha images, there are “the Arhats,” “Seven Worthies of Bamboo Grove,” “the Scroll Painting,” “Eight Immortal Figures,” “Zhong Qui,” and so on. It should have been named as “Chinese Daoism and Buddhism Painting Collection.”
From the painting illustration, we knew the creation sites included I Cheng Zhang Shi in Taiwan, Los Angeles, Unpousou and Qingnan Art Studio in Kyoto, Japan, Zhennan Art Studio, Huayuan Art Studio, Wingnan Art Studio in Beijing, and Weifang, Shandong. Following the path, we will see the trace for Master Xia to return home.
As mentioned in the painting collection, after arriving in the US, Master Xia visited well-known museums around the world and has been devoted to the studies on Buddhism painting and arts. This illustration explains the image making element of Buddhism in his painting as well as the relationships with museum collections. In the illustration, examples of “Shi Jia Coming out from the Mountain” and “Wooden Colorful Painting of Four Heaven Kings of Ruiguang Tower, Suzhou” were shown as the reference of mimic paintings. In “Samantabhadra Painting,” we see the combination of elements from various sources. For painting techniques, his figure paintings integrate both reality and implied meanings, one of his personal distinct features. |
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| 目次 | 壹、前言 59
貳、與夏居士佛像畫集之對話引得一點在台訊息 60
參、早期畫風與師承有惑待解 61
肆、一冊內涵跨越佛像畫集之大作 62
伍、畫作中所見的博採與涵融 63
（一）源於日本東京國立博物館所藏的〈釋迦佛出山圖〉 63
（二）蘇州瑞光塔四天王木函彩畫 65
（三）、普賢菩薩與法海寺信士像 67
（四）工寫兼具筆墨殊勝 69
陸、後記 71
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| ISSN | 24126233 (P) |
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| ヒット数 | 267 |
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| 作成日 | 2016.10.05 |
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| 更新日期 | 2020.06.15 |
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