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禪境海印森羅水墨畫創作研究=The ink painting and study of mind capture of existence demonstrate by Zen |
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| 著者 |
洪正隆 (著)=Hong, Cheng-long (au.)
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| 出版年月日 | 2024 |
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| ページ | 94 |
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| 出版者 | 華梵大學佛教藝術學系碩士班 |
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| 出版サイト |
https://www.hfu.edu.tw/
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| 出版地 | 新北市, 臺灣 [New Taipei City, Taiwan] |
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| 資料の種類 | 博碩士論文=Thesis and Dissertation |
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| 言語 | 中文=Chinese |
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| 学位 | 修士 |
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| 学校 | 華梵大學 |
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| 学部・学科名 | 佛教藝術學系碩士班 |
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| 指導教官 | 陳俊吉=Chen, Chun-chi |
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| 卒業年 | 112 |
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| キーワード | 妄盡還源= return all delusion to its source; 明心見性=clarify one’s mind and see one’s nature; splash ink |
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| 抄録 | 「禪境海印森羅」之創作研究雖然沒有在形式、技法等方面效法古人，但其對水墨的理解，以及對於創作方式的思考，卻無意間，符合了中國傳統水墨畫創作中所謂的「胸中丘壑」，也正是藝術家自己「中得心源」的寫照。
呈現水墨畫多以具體形體或抽象來概括表現，畫中物象外輪廓完整單純，多些枝蔓穿插處理，以增添鮮活之氣，能看出構圖上所表現的趣味性。並從大自然的意象出發，以彩墨詮釋水墨畫「虛實光影」的跡象，在繪畫創作中的寫生表現，喜用蒼勁筆觸勾皴，先以中濃墨勾出結構，再用淡枯筆皴擦，最後以大大小小的墨點勾出陰陽和明暗，讓畫面厚重而有變化。並探索藝術生活各式光影在景秀水墨中立體、空間感、含深廣度以及層次感之存在應用。藉由綜合美學理念及創作實踐之驗證，期望理論與實務相輔相成。
本論文共分為六章。重點概述如下：第一章緒論，第二章禪境海印森羅學理依據，第三章創作理念，第四章禪境海印森羅創作實踐，第五章禪境海印森羅作品分析，第六章結論。
亦期待創作論述中能藉由修妄盡還源觀的覺知與體悟的融合創作出靜觀自在的作品。能照見萬物的實性。笑看風雲，靜賞花開，靜觀自在。心靜則清，心定則恆。達到心境平靜無瀾，萬物自然得映；心靈靜極而定，剎那即是永恆的境地。
Although the creative research of "Zen State Haiyin Senluo" did not follow the ancients in terms of form, techniques, etc., its understanding of ink and its thinking about the creative method unintentionally conformed to the so-called traditional Chinese ink painting creation. "The valley in the heart" is also a reflection of the artist's "finding the source of his heart".
The ink and wash paintings are mostly expressed with complete geometric figures. The outlines of the objects in the paintings are complete and simple, and more branches and vines are interspersed to add freshness and the interest of the composition can be seen. Starting from the image of nature, he uses colored ink to interpret the signs of "real and virtual light and shadow" in ink paintings. In his sketching performance in painting creation, he likes to use vigorous brushstrokes to outline the structure. He first outlines the structure with medium-dark ink, and then uses light dry brushwork Rubbing, and finally using large and small ink dots to outline the yin and yang and light and dark, making the picture thick and varied. And explore the application of various lights and shadows in art life in three-dimensionality, space, depth, breadth and layering in Jingxiu ink painting. Through the verification of comprehensive aesthetic concepts and creative practice, it is expected that theory and practice will complement each other.
This paper is divided into six chapters. The key points are summarized as follows: Chapter 1 Introduction, Chapter 2 The theoretical basis of Zen Haien Senra, Chapter 3 Creative Concept, Chapter 4 Zen Haien Senra’s creative practice, Chapter 5 Analysis of Zen Haien Senra’s works. , Chapter 6 Conclusion.
It is also hoped that the creation and discussion can be used to create works that are free from meditation through the integration of awareness and understanding of the practice of cultivating the source of delusion. Can see the true nature of all things. Smile and watch the wind and clouds; watch the flowers bloom quietly and watch at ease. A calm mind leads to purity, and a settled mind leads to permanence. When the state of mind is calm and calm, all things will be naturally reflected; the mind is extremely still and determined, and the moment is the eternal stat |
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| 目次 | 誌謝 I
摘要 II
ABSTRACT III
目錄 IV
圖目錄 VI
第一章 緒論 1
第一節 研究動機與目的 1
第二節 研究方法 4
第三節 文獻分析 5
第四節 名詞釋義 8
第二章 禪境海印森羅學理依據 9
第一節 六祖慧能《壇經》的自然哲思 9
第二節 《修華嚴奧旨妄盡還源觀》生命觀點 11
第三節 妄盡心澄無相不現的自證 12
第三章 創作理念 13
第四章 禪境海印森羅創作實踐 15
第一節 入門摸索時期 15
第二節 深入嘗試創作時期 16
第三節 期待自我時期（2021年〜研究所時期） 17
第五章 禪境海印森羅作品分析 19
一、 淨化心靈系列 20
二、 拈花微笑系列 30
三、 靜觀自在系列 38
四、多情佛心系列 48
第六章 結論 60
第一節 創作研究總結 60
第二節 後續發展與未來期許 61
參考文獻 62
附錄-附圖: 65
洪正隆簡介 94 |
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| ヒット数 | 93 |
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| 作成日 | 2024.08.22 |
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| 更新日期 | 2024.08.22 |
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