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行雲自在：夏荊山〈白衣觀音〉對南宋牧谿畫作的承繼與開拓=The Unstrained- Inheriting and Exploring Song Muqi’s Paintings in the Southern Song Dynasty by Xia Jing Shan’s “White Robed Guan Yin” |
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| Author |
吳蕙君
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| Source |
荊山水閱 國際學術研討會-場次C
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| Date | 2015 |
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| Pages | 1 - 24 |
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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/Home/Default.asp
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 會議論文=Proceeding Article |
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| Language | 中文=Chinese |
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| Note | 世新大學中文系博士生、世新中文兼任講師 |
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| Keyword | 夏荊山=Mr. Xia Jing Shan; 白衣觀音=whlte dress Avaloki-teśvara; 牧谿=Mu-hsi; 禪宗=Zen |
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| Abstract | 夏荊山居士於1950年，拜南亭法師為師，皈依佛門，發願將此身心奉獻於佛陀，潛心於佛法，廣行菩薩道。觀看夏居士的畫作，佛像繪畫占很大的比重，應與夏居士在1988年，體會到佛像微妙之境，發願餘生只畫殊勝的佛像畫有很大的關聯。在夏居士眾多的佛像畫中，觀音佛畫最多，幾達30多件，工筆、水墨、白描畫法兼有，觀音的造像也呈現諸多樣貌，有：一葉、水月、紅竹、蓮花、白衣、禪定、童子拜觀音……等。其中題名為〈白衣觀音〉，或以白衣觀音與吉祥圖案的組合有非常多件，夏居士〈白衣觀音〉與南宋牧谿〈白衣觀音〉的造像頗有異曲同工之妙。
〈白衣觀音〉在禪宗繪畫上，是一幅重要的畫像，常以水墨技法表現，歷來繪白衣觀音佛像所在多有，至南宋牧谿始有開創，吳大素評此畫：「意思簡當，不費妝綴」。若說牧谿〈白衣觀音〉展現的是一種率真、簡逸豪放、自然清靜，擺脫形似束縛的美感，那麼夏居士沿用著牧谿白衣觀音的造形，更加展現觀音的慈悲、智慧，以及精緻凝寂的美感。
本文擬從傳移摹寫、骨法用筆和傳神寫意三方面，探討夏居士〈白衣觀音〉對牧谿白衣觀音造像的承繼與開拓，並藉由白衣觀音的畫作，體察夏居士如何展現「佛法在世間，不離世間覺」的菩薩道。
Mr. Xia Jing Shan in 1950, did obeisance the pavilion master is a teacher, became a buddhist, sends is willing to offer this body and mind to the Buddha, in the Buddhist doctrine, the broad good Bodhisattva said with concentration. The
onlooking Mr. Xia Jing Shan 's painting, the image of Buddha drawing accounts for the very great proportion, It should realize with Mr. Xia Jing Shan in 1988 the Buddhist doctrine subtle boundary, made a vow only to draw the image of Buddha picture to have the very big connection. In Xia Jing Shan's multitudinous image of Buddha picture, the Goddess of Mercy Buddha picture are most, several reaches more than 30, the exquisite brush, Shui Mo, the outline drawing drawing technique all has, The Goddess of Mercy modelling also has many kinds: YI YE, SHUEI YUE, HONG JHU, LIAN HUA, Whlte Dress, CHAN Ding, The Young Lad Does Obeisance The Avaloki-tesvara……and so on. Autograph for "whlte dress Avaloki-tesvara ", or has extremely many by the whlte dress Avaloki-tesvara and the propitious design combination, " whlte dress Avaloki-tesvara"of Mr. Xia Jing Shan with Southern Song Dynasty" whlte dress Avaloki-tesvara"of Mu-hsi the statuary quite has wonder the equally good results from different methods. " whlte dress Avaloki-tesvara" in the zen drawing, is an important portrait, Chang Yishui the ink technique performance. Always draws the whlte dress Avaloki-tesvara image of Buddha to have very many people, has the foundation to the Southern Song Dynasty Mu-hsi beginning. Wu Dasu comments this picture: “The meaning is brief, does not need to adorn”. If the" whlte dress Avaloki-tesvara"of Mu-hsi unfolds is one kind sincere, Mr. Xia Jing Shan, the nature is quiet, gets rid takes the form of the fetter esthetic sense, then Mr. Xia Jing Shan is continuing to use the " whlte dress Avaloki-tesvara"of Mu-hsi shape, even more unfolds the Goddess of Mercy the mercy, the wisdom, as well as fine still and quiet esthetic sense. This article draws up from the biography moves the facsimile, the bone structure and physiognomy with the pen and the expressive enjoyable three aspects, the discussion " whlte dress Avaloki-tesvara"of Mr. Xia Jing Shan to " whlte dress Avaloki-tesvara"of Mu-hsi statuary inheriting with the development, and because of the " whlte dress Avaloki-tesvara"painting, how carefully examines the Mr. Xia Jing Shan to unfold “the Buddhist doctrine in society, does not leave the world sense” the Bodhisattva said. |
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| Table of contents | 中文摘要 1
英文摘要 2
壹、前言 4
貳、早期經典對「白衣觀音」圖像的論述 5
一、佛典中的「白衣觀音」6
二、文人畫中的「白衣觀音」8
参、文人畫的範型──牧谿的「白衣觀音」8
肆、夏荊山〈白衣觀音〉造像的探討 13
一、「傳模移寫」─承繼牧谿「白衣觀音」的造形 13
二、「傳神寫意」─夏荊山「白衣觀音」的開創 15
伍、結論 23
參考書目 24
(一)現代專著、畫冊
(二)單篇論文 |
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| Hits | 725 |
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| Created date | 2018.09.18 |
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| Modified date | 2018.10.09 |
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