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依仁游藝，藝與道合：初探曉雲導師的禪畫意境哲思=Practicing Art with Benevolence and Combining Art with Buddhism ― A Preliminary Exploration on the Artistic Conception Philosophical Thinking of Master Hiu-wan's Ch’an Paintings |
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王明聰 (著)=Wang, Ming-Tsong (au.)
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| Date | 2019 |
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| Pages | 115 |
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| Publisher | 華梵大學 |
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| Publisher Url |
https://www.hfu.edu.tw/
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| Location | 新北市, 臺灣 [New Taipei City, Taiwan] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 中文=Chinese |
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| Degree | master |
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| Institution | 華梵大學 |
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| Department | 哲學系碩士班 |
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| Advisor | 陳振崑 |
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| Publication year | 107 |
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| Keyword | 曉雲導師=Master Hiu-wan; 覺性=Perception; 禪心=Ch′an Mind; 依於仁=Let Perfect Virtue be Accorded with. Let Relaxation; 游於藝=Enjoyment be Found in the Polite Arts; 藝與道合=Combining Art with Buddhism |
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| Abstract | 中華文化源遠流長至今五千多年，對於中國藝術發展受佛教禪宗的「空」、「有」般若思想，產生相當深遠的影響，尤其之後的文人畫提昇空靈意境美學方面更是高超。曉雲導師是華梵大學的創辦人，亦是集文學、教育、藝術、哲學、宗教於一身的般若行者，一心以弘揚佛陀「覺之教育」為職志，並透過自身深研的禪學、畫藝，得悟「藝與道合」、「道通乎藝」之妙義，以禪為體；畫為用，藉以引領出深遠的禪宗「覺性」與「禪心」義理，利益、攝化眾生為最終依歸。
本研究首先從印度佛教藝術之緣起與中國佛教藝術之發展開始了解，再藉由意境美學與詮釋學的藝術美學理論看法中去理解：南宗山水畫意境論美學的三個特徵；「氣韻生動」、「虛實妙象」、「師造化」與禪的意境美學的三個環結；禪的「悟」的「見性」的藝術體驗論、禪的「不即不離」的「虛實相生合成妙象」的藝術形象論、禪的「當下現成」的「頓悟本地風光」的藝術真理論的進路下進行前理解。
續再對曉雲導師禪畫的學思歷程，及其禪畫藝術意境美學之論述如：禪畫、經變圖……等哲思精義及其意涵之領悟，希望能對曉雲導師的「藝通乎道，藝與道合」之藝術創作意境美學理念與孔子的「志於道、據於德、依於仁、游於藝」的儒家思想，之間相互的關連性，進行理論研究、分析、歸納、比對，做客觀的解析探討，整理出其脈絡和方向，進行詮釋。
Chinese culture has been passed down for more than 5,000 years, and Chinese artistic development has been significantly affected by the Prajñā (wisdom) thinking of “emptiness” and “existence” of Buddhist Ch′an. In particular, the subsequent literati paintings excel in improving the artistic conception and aesthetics of emptiness. Master Hiu-wan was the founder of Huafan University, as well as a Prajñā (wisdom) practitioner combining literature with education, art, philosophical thinking, and religion. She devoted herself to promoting the “education of perception” of the Buddha, and realized the sophisticated meanings of “combining art with Buddhism” and “Buddhism can be practiced through art” with her own profound Ch′an studies and art of painting. She practiced Ch′an using her paintings to elaborate the profound meanings of “perception” and “Ch′an mind” of Ch′an, as well as to ultimately benefit and rescue general public.
Firstly, this study probed into the rise of Buddhist art in India and development of Chinese Buddhist art. Secondly, this study interpreted the 3 characteristics of artistic conception and aesthetics in the south school landscape paintings from the artistic aesthetics theories in Artistic Conception Aesthetics and Hermeneutics “vivid charm,”“sophisticated void-solid phenomenon,” and “learning of the nature.” Besides, this study also attempted to understand the 3 links of Ch′an’s artistic conception aesthetics: the artistic experiencing of “embodiment of self-essence” of “realization” of Ch′an, the artistic image of “sophisticated phenomenon of avoid-solid coexistence” of “absent without leave” of Ch′an, and the artistic truth of “realization of local scenery” of “the present” of Ch′an.
Afterwards, this study investigated the learning concept and process of Master Hiu-wan's Ch′an paintings and her discourses about the essences and perception of artistic conception aesthetics of Ch′an paintings, such as: Ch′an paintings, and sutra painting. Hopefully, this study can associate the artistic conception and aesthetic ideas of artistic works of Master Hiu-wan's “Buddhism can be practiced through art and combining art with Buddhism” with Confucius’ Confucian idea “Let the will be set on the path of duty. Let every attainment in what is good be firmly grasped. Let perfect virtue be accorded with. Let relaxation and enjoyment be found in the polite arts” to perform theoretical research, analysis, summary, comparison, and objective analysis and investigation, and arrange context and directions for interpretation.
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| Table of contents | 摘 要 I
Abstract II
目 錄 III
表 錄 VI
圖 錄 VI
第一章 緒論 1
第一節 研究動機與目的 1
第二節 研究方法 2
一、資料蒐集： 2
二、相關文獻與史料 3
第三節 文獻探討 4
第四節 研究範圍 6
第二章 曉雲導師藝與道合的淵源與佛教藝術的發展 9
第一節 曉雲導師藝與道合的藝術志業 9
一、學思歷程 10
二、藝與道合的慈心悲願 13
三、重要著作 15
第二節 印度佛教藝術的形成 16
一、阿育王時期—孔雀王朝—無佛像時期 17
二、犍陀羅藝術時期—貴霜王朝 18
三、笈多王朝時期—造像藝術 18
四、案達羅王朝—密教風格 19
第三節 中國佛教藝術的發展 19
一、漢魏初傳期─佛菩薩像 20
二、佛經變相之壁畫創作時期 20
三、禪畫演變時期 21
四、現代經變圖 22
第三章 禪的藝術意境與美學 25
第一節 「意境」美學的意涵 25
一、藝術的「意境」 25
二、禪與藝術意境美學的發展 28
三、「禪」的藝術境界 31
第二節 意境論的三個美學特徵 32
一、氣韻生動－形神兼備 34
二、虛實相生－合成妙景 36
三、自然之美－師造化 39
第三節 禪的悟道見性意境美學 41
一、「見山又是山」的悟道見性 41
二、「不即不離」的虛實相生合成妙象 45
三、「當下現成」的頓悟本地風光 47
第四章 曉雲導師的禪畫與哲思 51
第一節「禪」佛教藝術美學意涵 51
一、「禪」的源起與傳承 51
二、曉雲導師的般若禪學思想 53
三、曉覺禪心—「禪畫」之意涵 61
第二節 依仁游藝、藝與道合之美學 67
一、依仁游藝之哲思 67
二、藝與道合之詮釋 70
三、吾心即宇宙，宇宙即吾心 72
第三節、曉雲導師之禪畫意境舉隅 74
一、「寫實」 77
二、「禪心」 80
三、「經變」 86
四、「明志」 92
第五章 結論 99
引用書目 101
一、古典文獻（依經號順序排列） 101
二、曉雲導師原著（依著作年份排列） 102
三、近人論著(依作者姓氏筆畫排序) 104
四、學位論文(依作者姓氏筆畫排序) 105
五、期刊論文(依作者姓氏筆畫排序) 105
六、會議論文(依作者姓氏筆畫排序) 106
七、網站資料(依網站名筆畫排序) 107
附表 109 |
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| Hits | 274 |
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| Created date | 2020.02.05 |
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| Modified date | 2023.01.18 |
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