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重重帝網:夏荊山水陸畫的人文關懷與美學意蘊=Endlessly Multi-meshed Net of Indra: Compassion for Humanity and Aesthetic Implications in Xia Jing Shan’s Water-Land Ritual Paintings
Author 余定檉 (著)=Yu Ding-Ching (au.)
Source 夏荊山藝術論衡=Journal of Xia Jing Shan's Art
Pages99 - 120
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; 水陸畫=Water-Land Ritual paintings; 華嚴宗美學=Flower Garland school of Buddhism; 美學意蘊=aesthetic implications; 人文關懷=humanity; 工筆=gonbi; 水墨=ink brushwork

There have been prolific studies on Xia’s Buddhist paintings, including his pursuit of perfection with depictions of the Gautama Buddha and Avalokiteśvara, the anchoret ethos expressed in his landscape and character paintings, and the unique personalities portrayed in his depictions of Zhong Kui and arhats; however, his Water-Land Ritual paintings, which reflect the spiritual side of the unison of art and Taoism, have not received much recognition. The otherworldly transcendental quality in Xia’s Buddhist paintings must be contrastingly observed alongside with the care and attention towards humanity which are conveyed in his Water-Land Ritual paintings, which will allow a well-rounded view of his entire aestheticism and lead to an understanding for Xia’s complete cultivation base. This paper examines Xia’s all-embracing compassion for humanity and the magnificent and complex aesthetic implications in his art by referencing the differences, paradoxes, and oppositions observed in the ultimately harmonious aestheticism preached by the Flower Garland school of Buddhism. It is observed that sentient suffering and even imaginative topics such as hell are sanctified because of “the unobstructedness of specifics in principles”. Xia’s profound empathy for humanity is reflected in how mortal requests are conveyed to deities through the state of the “One True Dharma Realm”, with Xia’s own spirituality also comprehensively presented. He departed from the idea of dharmadhātu-pratītyasamutpāda and then used the meticulous gonbi style ink brushwork to freely express and harmoniously combine, and then through “mutual unobstructedness among phenomena”, possibilities of art were masterfully excavated, which transcended Water-Land Ritual paintings from ritual props placed on formidable altars to treasures of art that are rich with aesthetic implications.
Table of contents壹、前言 101
一、研究回顧 101
二、主要概念定義 102
貳、涵蘊萬有的人文關懷 103
一、「理事無礙」:世俗人文皆聖化 103
二、「一真法界」:融通神佛應民求 107
參、莊嚴繁華的美學意蘊 110
一、「法界緣起」:濃妝淡抹兼工墨 111
二、「事事無礙」:匠藝昇華任遨遊 113
肆、總結 117
引用書目 118
ISSN24126233 (P)
Created date2020.09.30
Modified date2020.09.30

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