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清末民初佛教與美術文化的轉換=A Cultural Turn on Buddhism and Art in the Late Qing and Early Republic of China |
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劉美奇 (著)=Liu, Mei-chi (au.)
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| Date | 2022 |
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| Pages | 355 |
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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 | doctor |
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| Institution | 華梵大學 |
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| Department | 東方人文思想研究所 |
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| Advisor | 黃智陽 |
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| Publication year | 110 |
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| Keyword | 清末民初=late Qing dynasty and the beginning of the Republic; 佛教=Buddhism; 藝術=Art; 文化轉換=Cultural transformation |
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| Abstract | 本文旨在討論二十世紀佛教與美術因應時代巨變與隨順現實世間的文化轉型，由儒佛的交涉入手，分為政治化、區域化與學風轉變的三個方面進行。西潮東來是清末民初的時勢概況。學佛是當時的流行，知識分子的讀書方法被運用到佛學的研究上，於是乎入世的佛教變成為是知識分子的一種內在的發展動力與信仰。彼時美術與佛教被譽為是現代文化的代名詞，所以本文相連貫美術圖像對佛教徒生活的描繪以及佛教思想對內心的自省作用，來傳達這一段佛教文化現代性的特質。其目的不外是在說儒佛相互為表裡。而在西學東進，新舊二元文化互攝的狀況，在民初被視為是創造新時代的作用力。這些推動文化再生與創見的作用力於今日也依然可以被重視。所以本文藉由美術圖像為佐證去建構一個民初佛教大歷史的文化脈絡是為文目的。
論文的主軸，第二章到第四章是以時空的現、過、未來分別來說當時的佛教狀況、民初對於晚明文化的眷顧以及區域佛教發展的影響。以其中所對應史實的紐帶相連，來理清文化轉換的前因後果。最重要是本文取用晚明僧人「忠孝作佛事」為榜樣，選定兩位居士與出家僧人代表民初佛家，除了提點他們各自在新佛教史、佛教藝術精神的體現、佛教義理與修成上的親證等等，而最主要的是藉由他們在文化上的奮力，同時顯發他們在德行上的忠肝義膽。而成為了相連第三章對晚明文化傳承的最有效力證。例如民初梁啟超《親民說》國民道德論取用陽明學說的「親民愛物」可以與六十年代台灣流行的四僧繪畫「止於至善」的內涵相連接。第四章主要是說，經歷過了清兵南下以來的外族壓境，迫使佛教地理空間的轉移與廣東區域文化的發展，此間遺民文化的以佛說儒、炮莊託孤恰好給予機會連接道緒時期諸子學說的託古改制。這是因為政治的影響，五口通商與西學東進的緣故，廣東的歷史地位才被受重視。
本文所涵蓋的論述時間有些冗長，例如以民初歷史為主軸，又說民初對晚明的回顧，又再藉由釋曉雲的圖像作品討論對於晚明的反省，作為整體論文再閱讀的資料等等。當然這樣子的書寫也是受益於二十世紀以後史學書寫方法的寬鬆、以及歷史資料可以再利用、重新閱讀的因緣所賜。
當然在這一場長時間的佛教文化轉型的過程中，運用廣闊生命現象的開合來萃取生命的條理，其間大眾媒材的圖文互用也吸引了更多的群眾參與，締造出了大眾性的佛教風潮。當是時，傳統與現代佛教的隔閡也在西方科學方法的助力之下被逐漸紓解。雖然民初的僧俗相遇也仍舊存在著不同的新問題，這些新見解也是文化交流與碰撞的結果。而這一系列的新見解與新問題又被持續到六十年代現代主義復甦與民族意識反省當中去作組合。這些事後對當時與過去的反省，也是本文引用釋曉雲畫作當中的圖像符號作為時代反省與展望的緣由。
This paper discusses the transformation/turn of the Buddhist culture in the early 20th century in response to the great changes of the times and the adaptation to the real world. The thesis starts with the interaction between Confucianism and Buddhism, then reviews aspects of politicization, regionalization and secularization separately. The western culture had formed an influential trend in the late Qing Dynasty and early Republic of China. Learning Buddhism was also popular at that time. The studying method of intellectuals was applied to the study of Buddhism thus the engaged Buddhism became an inner power and faith in themselves for saving the country and the people. At that time, because Art and Buddhism were hailed as modern ways to save the country, this article is connected with the observation of things in art images and the observation of Buddhist inner thought to convey the modernity of this period of culture. The purpose here is to show the mutuality concept of ethics and renunciation inside Confucianism and Buddhism. The interaction of dualistic chaotic culture was once regarded as a force to create a new era in the early Republic of China but traditional culture can still be cherished while In the ""decentralized"" secular world. Thus the purpose of this thesis is to build a net to cope the Buddhist history in the early Republic of China.
The core from Chapter 2 to Chapter 4 is to clarify the antecedent and consequence of the cultural transformation by historical facts from the space divisions of past, now and future. In Chapter 2, discussion focuses on two lay persons and a monk at that time to compare their differences on understanding in new Buddhist history, Buddhist spiritual realm, and the performance of the art through interaction, competition and unity between them in order to observe their complementarity and integration in culture karma. In Chapter 3, discussion focuses on skipped dynasty cultural inheritance from late Ming dynasty to the Republic of China period to clarify the historical antecedent and succession of the new era to the traditional culture. In fact the Qing military pressure to the south of mainland China had compelled the geophagic shift to Buddhists and regional development. In Chapter 4, the discussion focuses on revision after the 1950s to the history from late Qing dynasty to the beginning of the Republic of China. This will be the cultural fusion between Confucianism and Buddhism after the implementation under national tradition Consensus. Moreover, while building up Buddhist history, this thesis will discuss Buddhism in company with the art. Buddhism and the art has become a healing recipe through the Buddhist paintings and their rich cultural connotation of Buddhism. When the art bears the weight of Buddhist philosophy, The art can also be a combination of Buddhist cu |
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| Table of contents | 目錄
誌謝 I
摘要 II
Abstract IV
目錄 VI
表錄 VII
圖錄 VIII
第壹章 緒論 1
第一節 研究動機與目的 1
第二節 研究範疇與方法 5
第三節 文獻探討與整理 8
第貳章 中國社會的巨變與近代佛教的轉型 17
第一節 梁啟超新史學與現代佛教史學的轉換 17
第二節 王國維學風與佛教文化的區域性 43
第三節 釋弘一的行持與經典圖像詮釋的轉化 87
第四節 釋太虛的人生佛教與現實主義美術觀的轉換 132
第參章 清末民初與晚明文化的隔代傳承 165
第一節 遺民文化的歷史作用與佛家生命主體的強化 167
第二節 庶民的佛教場域與群眾佛教意象的相關連 192
第三節 <羅漢石碑>與羅漢自畫像的歷史演繹 220
第肆章 區域傳統文化與儒佛會通的教化 255
第一節 傳統內涵的傳承與地方佛教的展開 259
第二節 嶺南地區現代佛學史研究的典範轉移 286
第三節 釋曉雲禪畫作品的精神與思想 309
第五章 結論 337
參考書目 349
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| Hits | 299 |
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| Created date | 2022.09.29 |
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| Modified date | 2023.01.18 |
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