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夏荊山《莊嚴寶像》題畫文辭探析 — 兼論臺灣古典詩中的題畫之作=Examining Xia Jing Shan’s Dictions of Solemn Deity Inscribed on Paintings and Discussion on Taiwanese Classical Poems Inscribed on Paintings
Author 顧敏耀 (著)=Ko, Bin-yau (au.)
Source 夏荊山藝術論衡=Journal of Xia Jing Shan's Art
Pages75 - 109
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; 佛教書畫=Buddhist calligraphy and painting; 題畫詩=poem inscribed on painting; 臺灣繪畫史=Taiwanese painting history; 臺灣美術史=Taiwanese art history
Abstract 夏荊山為我國當代傳統書畫大師,尤其擅長佛教題材繪畫,其工筆重彩之精緻,勾勒線描之細膩,栩栩如生,風韻獨特,足以令人披覽不倦,心往神馳。目前探討其畫作之相關論文已有多篇,諸如楊企霞〈夏荊山觀音佛畫之研究〉、陳炳宏〈夏荊山佛教繪畫之「羅漢像」風格淺評〉、莊麗華〈發現夏荊山佛畫境界在視覺藝術的創新與明心〉等,皆能深入闡發其畫作所蘊藏的深刻意涵。此外,其實夏荊山在諸多畫作之上往往亦有相關題辭,其內容也有值得深入考究之處,有的是單純題上畫作題名,有的則是題上佛經或是前賢所編集之詩文。還有的是畫家自己所撰之文辭,例如有一幅〈鍾魁觀濤圖〉,除了寫上作畫時間地點與署名之「於京都時年八十七夏荊山題」之外,還有「浪濤來去,仍是在海中,妄想來去。自然是自性源頭,仁者你說是不是?」藉由圖畫中洶湧澎湃的波濤起興發想,敘述本心自性之如如不動,並以設問法作結,頗有平易近人、輕鬆活潑之感。夏荊山之題畫文辭,足以置於臺灣古典詩中的題畫詩脈絡當中進行察考比較,從中發掘題畫文字內容與畫作之間的各式關聯。至於許多臺灣早期的題畫詩都已經是詩存而畫佚,若能得到如夏荊山一般的繪畫大師能夠重新提筆,揣摩畫意而重新配畫,想必更是藝壇美事。

Xia Jing Shan is a traditional Chinese painting and calligraphy master in Taiwan. He specializes in paintings of Buddhist subject matters, and is well versed in the refined style of fine-brush with heavy color, creating delicate lines and unique lifelike images that one could appreciate tirelessly. There are many papers published focusing on his paintings, including “A Study on Xia Jing Shan‟s Buddhist Paintings” by Yang Chi-Hsia; “A Brief Discussion on„Arhats Painting‟ of Xia Jing Shan‟s Buddhist Paintings” by Chen Bing-Hung; and“Discovery of Innovation and Insights of Xia Jing Shan‟s Buddhist Painting Themes in the Field of Visual Art” by Chuang Li-Hua, which all contain in-depth examinations on the profound meanings embodied in Xia‟s paintings. Moreover, Xia usually inscribes on most of his paintings, and the contents are worthy of in-depth studies. Some are simply inscriptions ofthe specific painting‟s title, while others are Buddhist scriptures or poems and verses by ancient sages. There are also some containing verses and words written by the painter. For example, the artist had inscribed on one of his paintings depicting Zhong Kui gazing at thesea with the time, location of the creation, and his signature (Kyoto, year 87, by Xia JingShan) and also the following words, “Waves come and go but are still contained in the sea.Wishful thinking comes and goes. Nature is the source of the self; benevolent one, do you agree?” Inspired by the roaring waves in the painting, the words convey the stillness of the
heart, and by concluding with a question, a sense of friendly and lighthearted liveliness is evoked. Dictions on paintings by Xia could be compared and examined by placing in the context of Taiwanese classical poems inscribed on paintings, whereby various relationships between inscriptions on paintings and the paintings themselves could be explored. The fate of many early Taiwanese poems inscribed on paintings is that the poems have remained but the
paintings have long disappeared. If a masterful painter like Xia could pick up his paintbrush once again to interpret and compose new paintings for those poems, it would undoubtedly be deemed a beautiful occasion for the art world
Table of contents一、前言 77
二、引用與化用 79
三、作者的個人創作 83
四、臺灣古典詩中的題畫之作 84
五、小結 86

ISSN24126233 (P)
Created date2018.09.04
Modified date2020.06.15

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