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墨韻詩意.禪畫寒拾 ─ 論夏荊山「寒山拾得圖像」之筆墨表現=Zen Painting With Poetic Ink Expressions - on Xia Jing Shan’s Notable Ink Brushwork in His Hanshan and Shide Paintings
Author 楊偵琴 (著)=Yang, Zhen-Qin (au.)
Source 夏荊山藝術論衡=Journal of Xia Jing Shan's Art
Volumen.8
Date2019.09
Pages105 - 121
Publisher財團法人夏荊山文化藝術基金會
Publisher Url http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
Location臺北市, 臺灣 [Taipei shih, Taiwan]
Content type期刊論文=Journal Article
Language中文=Chinese
Note作者為國立臺灣藝術大學書畫藝術學系博士
Keyword夏荊山; 寒山拾得圖像=Paintings of Hanshan and Shide; 減筆描=subtraction painting technique; 禪畫=Zen painting
Abstract 夏荊山畢生精研佛像繪畫與禪思書藝,師骨和合得意境高妙,書畫頗富禪理與教化之功,夏居士繪有幾幅〈寒山拾得〉圖像採用減筆描繪技巧,展現禪畫意境妙趣,相傳寒山、拾得為唐代詩僧,也是文殊菩薩、普賢菩薩之化身,亦稱「和合二聖」,人物形象之煉整有不同的宗教特質,畫中詩僧寒山與拾得形象受到宋元時期佛教禪宗盛行之影響,筆簡意足的道釋人物尊者像飽含禪意,題材與風格別具禪機畫趣。本文取材北京工藝美術出版社2013年版《夏荊山中國佛像畫集》集夏荊山文化藝術基金會「夏荊山書畫藝術數位典藏」網站所典藏的寒山拾得圖為研究材料,就圖像之筆墨表現、意蘊與章法論,夏荊山用筆墨韻多層次、題跋禪理表達盡意,人物風格繼承南宋梁楷減筆描繪的特性,強調行筆快速、多側鋒,透過墨色畫法,借水滲墨渲染,筆墨自由放逸,人物造型揮就詼諧不羈之貌,表現禪宗散聖粗服蓬頭、情態神韻活潑喜悅樣態,總體書畫題跋筆墨富詩情,寒山與拾得布衣平淡之造型憨厚樸拙,體現禪思寂靜悠遠、自性圓通之法,藉筆墨傳達禪門悟道調心,表現筆韻禪機的藝術內涵。

Xia Jing Shan has dedicated his life to Buddhist portraiture, Zen philosophy, and the art of Chinese calligraphy, and his art combines ancient and natural elements in a masterful way, with Zen teachings and inspiring, enlightening notions conveyed through his paintings and calligraphic art. Xia has created several paintings of Hanshan and Shide using the “subtraction” style, whereby he ingeniously depicts these Zen paintings. It is said that Hanshan and Shide were poets and monks from the Tang dynasty, whom are also identified as a Buddhist “huohe” (harmonious union, a harmony of the community of monks) and regarded to be incarnations of the Bodhisattvas Mañjuśrī (Monju) and Samantabadhra (Fugen). The images of these two characters have been refined to showcase different religious features. Inheriting the legacy of Zen Buddhism passed down from Song and Yuan dynasties when the religion was highly prevalent, Xia’s paintings of Hanshan and Shide showcase simple brushwork to convey the Zen qualities exuded by these venerated Buddhist and Taoist figures, with interesting Zen elements presented through the depicted subject matters and the artistic style. This paper includes studies conducted on Hanshan and Shide paintings found in Archives of Xia Jing Shan’s Buddha Paintings published in 2013 by Beijing Arts and Crafts Publishing House and also artworks from the Jing Shan E-Gallery launched by the Xia Jing Shan Arts and Cultural Foundation. The ink expressions, implications, and theories shown on Xia’s paintings are multilayered in their ink brushwork, with Zen theories conveyed through the inscriptions. The characters are depicted in a style reminiscent of Southern Song dynasty painter Liang Kai’s prominent subtraction brushwork, which highlights swift strokes and splayed-bristle techniques, with ink and water applied to create wash effects to result in free and flowing ink expressions. The characters are depicted to appear comical and wild, with unkempt hair and vivid and joyful expressions illustrated on the Zen monks. The paintings and calligraphic inscriptions are created with vibrant and poetic ink expressions, with Hanshan and Shide portrayed in plain cotton garbs depicted in a simple and sincere manner. The intrinsic nature of Zen is a wisdom that transcends beyond one’s inherent existence, and Xia uses ink brushwork to express Zen teachings, with the ink expressions leading towards an enlightened state of Zen through art.
Table of contents壹、禪機畫趣論寒拾 108
貳、筆簡形具:〈寒山拾得〉圖像之筆墨特質與傳承 112
參、忘形得意:〈寒山拾得〉圖像之筆情墨意 119
ISSN24126233 (P)
Hits31
Created date2020.01.10
Modified date2020.06.17



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