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一葉一如來——弘一法師美育特質啟迪書藝創作之研究=""Yi Ye Yi Ru Lai""-the Study of How Master Hong-Yi's Views about Aesthetic Education and His Virtues Enlighten the Creantion of Paintings and Penmanship |
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涂昌裕 (著)=Tu, Chang-yu (au.)
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| Date | 2013 |
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| Pages | 142 |
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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 | 美術學系碩士班 |
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| Advisor | 李蕭錕=Lee, Hsiao-kun |
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| Publication year | 101 |
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| Keyword | 美育特質 |
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| Abstract | 弘一法師李叔同(1880-1942)，一生充滿傳奇的故事，為後人津津樂道。他是近代佛教與近代書史中具備影響力的宗師，在法師示寂七十年後的今日，仍然有許多如慕者，在世界各地舉辦紀念活動，吟唱其詩歌，展出其書畫，有更多的人是因閱讀其傳記受到感動，進而接觸佛法，修行修心。他的成就多元，除了藝術與佛學之外，其德學與行誼更是感動著人們，法師對於美育的要求與實踐，為他的生命彰顯不凡的價值，他教導學生無不以「器識為先」，強調人品的重要，「做什麼，像什麼」的認真態度激勵著後學，尤其是在他出家後的生命裡，持戒念佛，老實修行，更以書法作為弘揚佛法的方便，用翰墨普潤有情。
筆者因學佛與愛好書畫的緣故，觀察法師行誼與修為，探討其美育特質，學習法師精神，以書法做為修行，並從藝術會通於「道」的理念，啟迪書畫方面的創作。也透過學佛習藝，使生命能開拓視野，隨緣自在，並學習法師內涵與宗教情懷，以書法滙通佛法融入生命之中，成就自我成長的契機。
本論文各章論述之要點略述如下：
第一章說明研究弘一法師美育特質啟迪書藝創作之動機與目的，並提出研究方法與研究範圍、名詞解釋等。
第二章概述法師生平與學習經歷，從藝術全才獻身教育，到學佛修行後精進行持，以書法為佛事，用莊嚴又獨特的筆墨度眾之行誼。
第三章整理法師美育特質，尤以其重視人品修養與道德器識，此外，法師由儒入佛、持戒修淨的涵養，落實於書法作品中，本章試列舉法師德行連結書法意趣之會通處。
第四章為筆者「一葉一如來」書藝展之創作理念，以個人學習歷程與學習體驗，加上受到法師美育及德行之啟發，體驗習字調心之功效與受用。
第五章分別敘述書藝作品之創作取材，創作媒材與表現技法。
第六章以圖片呈現「一葉一如來」書藝個展作品，內容含括作品解說、技法表現，以及創作後的自我檢視。
第七章為本論文之結論，以弘一法師為研究對象，從其行誼與美育特質中，得到啟發生命與藝術創作的契機，期許未來亦能更深入研究法師德學與發揚其慈悲精神之展望。
Master Hong-Yi, Shu-Tong Li(1880-1942) had a number of subtle stories influencing later generations. In recent Buddhism and history, he played an important role. Although the master was dead for seventy years, there are still many adorers holding the memorials around the world. They sing his poems, and display his books and paintings. Many people were moved by his biography and then learned Buddha dharma to correct their behaviors and minds. In addition to Art and Buddhism, the master’s virtues and manners also affected people. Owing to the demand and practice of the aesthetic education, uncommon value was shown in his life. He emphasized the characters, and that was the first point when he taught. The principle of“What you do, and what you are.” deeply inspired the later learners. After becoming a nun, he held the religious taboos and pronounced the appellation of Budda. Besides, he let people follow the laws of Buddha by the penmanship.
Because of learning the laws of Buddha and having an interest in paintings and penmanship, I observe the master’s manners and morals, discuss his views about the aesthetic education, and learn his spirit. With the penmanship, I can correct my behaviors and minds. Moreover, the understanding of the Buddha dharma enlightens the creation of paintings and penmanship. In addition, learning the laws of Buddha and arts can expand my views and make me live with ease. Learning the master’s connotation and religious spirit to combine penmanship with Buddha dharma is a good opportunity for me to grow.
The points of the chapters in this thesis are as follows.
Chapter one explains the motivation and purpose of studying how Master Hong-Yi’s views about aesthetic education and his virtues enlighten the creation of paintings and penmanship. The method, scope, and the explanation of the nouns are also included in this chapter.
Chapter two summarizes the master’s life and learning experiences. He contributed his art talent to education and then learned Buddha dharma. In addition to holding religious taboos, he let people follow the laws of Buddha by the penmanship.
Chapter three organizes the master’s views about the aesthetic education and his virtues. He especially emphasized one’s moral characters. Besides, the master’s goodness that came from Confucianists to Buddhism and from taboo to solemn can be seen in his penmanship. This chapter tries to list how the master’s virtues were combined with the penmanship.
Chapter four mainly focuses on the ideas of how I create the display of “Yi Ye Yi Ru Lai”. In addition to my learning process and experiences, the master’s views about the aesthetic education and his virtues also let me understand the effects of penmanship.
Chapter five describes the contents, the materials, and the skills of the paintings and penmanship.
Chapter six presents the display of “Yi Ye Yi Ru Lai”with pictures. It includes the explanation of the works, the presentation of the skills, and the self examinations of the creation.
Chapter seven is the concl |
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| Table of contents | 第一章 緒論
第一節 研究動機與目的 1
第二節 研究方法 1
第三節 研究範圍 2
第四節 名詞解釋 2
第二章 弘一法師生平概述
第一節 家世與學習歷程 4
第二節 藝術全才獻身教育 8
第三節 出家事佛與翰墨度眾 10
第四節 月圓天心 14
小結 16
第三章 弘一大師美育特質
第一節 首重人品器識為先 17
第二節 由儒入佛的信仰情懷 20
第三節 持戒修淨與書法心象 23
第四節 藝術創作的高峰體驗 34
小結 36
第四章 「一葉一如來」書藝展創作理念
第一節 文以載道，敦品為先 36
第二節 文人風雅與藝術悲心 38
第三節 書法具調心修身之效 42
第四節 藝術創作的體驗與心得 44
小結 49
第五章 作品取材與創作技法
第一節 創作取材 48
第二節 作品材質 54
第三節 表現技法 55
小結 58
第六章 作品說明 59
第七章 結論 132
參考書目 136
圖片出處 138
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| Hits | 329 |
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| Created date | 2022.06.06 |
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| Modified date | 2023.01.18 |
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