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心靈的方向 — 夏荊山佛教書畫賞析=The Direction of Soul and Mind--Appreciation of Xia Jing Shan’s Buddhist Painting |
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王俊盛 (著)=Wang, Chun-sheng (au.)
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| Source |
夏荊山藝術論衡=Journal of Xia Jing Shan's Art
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| Volume | n.1 |
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| Date | 2016.03 |
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| Pages | 39 - 54 |
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| Publisher | 財團法人夏荊山文化藝術基金會 |
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| Publisher Url |
http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者為長榮大學書畫藝術學系兼任講師 |
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| Keyword | 夏荊山=Xia Jing Shan; 佛教=Buddhism; 心靈=Soul and Mind; 書畫=Painting and Calligraphy |
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| Abstract | 藝術的表現，反映出創作者內在心念的趨向，其可貴性，乃在於能引發正向的價值以及美善的啟示與感悟。本論主要透過夏荊山居士書畫藝術的「意」、「思」表現，將藝術落實於利人利己有益於人生受用的觀點，從中分享其心靈方向所傳達的內在蘊意，也省思書畫展現應有的心靈方向與視野。
本文首先陳述心靈方向影響藝術表現的觀點，進而導入夏荊山書畫藝術的方向與想法。接著簡介夏荊山的生平、學佛經歷及行善事蹟。並經由夏荊山款文內容所展現的心向，提出其書畫藝術表現以尊佛信仰來修養自我並推及他人，將書法意涵建立在「盡心知性」且同時行「無言之教」，並應會於書道表現的「深意見志」行跡，他將書道與弘揚佛法「契機心悟」之得相融相應，期盼社會更祥和美善。藉由分析夏荊山繪畫之表現與特色，陳述其畫佛持志之內涵，追求內在的心靈之善與外在藝術之美的調和與統一。進而賞析夏荊山畫佛中的自我意識，以作品比較將《觀音寶相》（清康熙西安刻）中吳道子所畫的觀音像及溥儒臨摹的〈觀音菩薩像〉以及夏荊山所臨摹的二件作品相互比較，以顯現出其「傳摹移寫，鎔鑄己意」的思維。感佩其九十有二高齡仍「修行忘我」堅毅實踐持志而行，其「修行忘我，轉凡入聖」之行誼實足堪後進學習效法其精神。
Presentation of arts often reflects the direction of soul and mind of creators, and the value lies in the inspiration of positive morals and appreciation of goodness and virtue. This paper based on the presentation of “meaning” and “implication” of Master Xia Jing Shan’s painting and calligraphy works discusses the realization of mutual benefit perspective by introduction arts to life. By doing so, we are able to share the inner meaning of soul and mind conveyed by Master Xia and to reflect on the direction of soul and mind and vision expressed in painting and calligraphy works.
This paper first examines the perspective of the influence of art presentation on soul and mind and introduces the direction and thinking of Master Xia’s painting and calligraphy works. Next, the background, religious practices, and participation in charity events of Master Xia are introduced. Through the illustrations, we are able to get to know the soul and mind of Master Xia that suggest the source of painting and calligraphy presentation should come from the respect to Buddhism, self-practices, and inspiration to others. The meaning of Master Xia’s calligraphy works lies in the “full expression of knowledge and wisdom” and at the same time, through “teaching without words,” he demonstrates “the insightful thinking” in calligraphy presentation. He integrates calligraphy and Buddhism to promote “realization of the truth of impermanence” to build a more peaceful and happier society. Through the analyses of presentation and features of Master Xia’s painting, this paper presents the content of Buddhism impermanence and looks for the harmony and unification of the inner virtue in soul and mind as well as the outer aesthetics of arts. Furthermore, this paper guides the viewers to the appreciation of self-consciousness in Master Xia’s paintings and compares two pieces of Master Xia’s works to Guan Yin of Wu Doazi in “Guan Yin Bao Xiang” (painted in Xian during Emperor Kangxi of Qing Dynasty) and “Guan Yin” painted by Puru to demonstrate the logic of “mimic painting combined with self-awareness.” We admire the persistence of Master Xia’s “selfless religious practice” at the age of 92 years old. His practices of “saint transformation” should be the model for all generations to come. |
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| Table of contents | 壹、前言 39
貳、生平簡介 39
參、夏荊山書法之心向 40
一、 尊佛以理性情 41
二、書意默化心靈 44
肆、夏荊山繪畫之表現 47
伍、畫佛中的自我意識 48
一、傳摹移寫取其精華 49
二、內化筆意因指見月 50
陸、結語 51
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| ISSN | 24126233 (P) |
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| Hits | 254 |
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| Created date | 2016.10.05 |
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| Modified date | 2020.06.15 |
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