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夏荊山觀音佛畫之研究=A Study on Xia Jing Shan’s Buddhist Paintings
Author 楊企霞 (著)=Yang, Chi-hsia (au.)
Source 夏荊山藝術論衡=Journal of Xia Jing Shan's Art
Pages9 - 32
Publisher Url
Location臺北市, 臺灣 [Taipei shih, Taiwan]
Content type期刊論文=Journal Article
Keyword夏荊山=Xia Jing Shan; 觀音菩薩=Guanyin Bodhisattv; 佛教繪畫=Buddhist paintings
Abstract 夏荊山於十六歲(1939 年)時,師從郭味蕖先生學習丹青,其後參訪名師,研學花卉、人物、仕女、山水等繪畫技法,並遊走於世界各大博物館之間進行研習,致力於佛教繪畫藝術之創作,觀夏荊山觀音佛畫作品,清淨莊嚴且形神兼備,圓融地體現了佛菩薩的智慧與慈悲。
夏荊山居士,於二十八歲(1950 年)時拜南亭法師為師,皈依佛門,發願將此身心奉獻於佛陀;此後,潛心於佛法,廣行菩薩道,以畢生之功參悟佛法。夏荊山以信仰作為追求完滿的思想以及人格品德的精神動力,以自省自悟運用智慧洞察萬物,慈悲方便利益眾生之難能可貴的精神,創辦了佛教藝術畫院—荊山畫院,提供百餘名生活困難而善根深厚的青年人到畫院學習繪畫,並出資重建北魏時期,山東地區的中心寺院—青州龍興寺,使深具歷史與藝術價值的窖藏佛教造像群得以完好保存。

At the age of 16, Master Xia Jing Shan learned from Mr. Guo Weiqu and other masters about flower, figure, lady, and landscape painting skills. He also traveled to famous museums around the world for further studies. He has committed to the creation of Buddhist painting. When we look at Master Xia Jing Shan’s Guanyin paintings, we can feel the pureness and serenity in both appearance and spirit, presenting the harmony wisdom and grace of Guanyin Bodhisattv. This study based on the theme of Guanyin’s paintings of Xia Jing Shan to discuss image features and inner spirit characteristics of his creation. Master Xia Jing Shan, at the age of 28 (1950), went to follow and learn Buddhism from Master Nanting and was devoted himself to Buddhism. Since then, Master Xia has been immersed in Buddhism learning and realization. Based on religion, Master Xia has been looking for complete thoughts and drives to inspire morals. He observes things through self- reflection and demonstrates the valuable spirit of benefiting the public by establishing a Buddhism art academy, Jingshan College of Art where he allowed hundreds of low income young students to learn painting. He also financed the preservation of important Qingzhou Longxing Temple in Shandong area built in North Wei Dynasty for historical and artistic Buddha sculptures.
Table of contents壹、前言 11
貳、夏荊山觀音佛畫之風格特色探討 12
一、 筆墨線質的表現 12
二、色彩運用 14
三、畫面結構特色 18
(一) 以主尊為中心的構圖方式 18
(二) 背景留白的意境創造 19
(三) 畫面經營的巧思 20
(四) 夏荊山觀音佛畫之題材表現 21
參、結論 31
ISSN24126233 (P)
Created date2016.10.05
Modified date2020.06.16

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