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原型圖像的召喚 ─ 生命蛻變之後的藝術創作救贖歷程以夏荊山佛像藝術價值為例 ─ =Calling of Prototype Image-Artistic Creation and Salvation Process after Life Transformation- A Case Study of Artistic Value of Xia Jing Shan's Buddha Painting |
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| 著者 |
聶雅婷 (著)=Neih, Ya-ting (au.)
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| 掲載誌 |
夏荊山藝術論衡=Journal of Xia Jing Shan's Art
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| 巻号 | n.3 |
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| 出版年月日 | 2017.03 |
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| ページ | 9 - 37 |
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| 出版者 | 財團法人夏荊山文化藝術基金會 |
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| 出版サイト |
http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
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| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| ノート | 作者為長榮大學應用哲學系助理教授 |
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| キーワード | 原型=Prototype; 召喚=calling; 神聖=Buddhism; 身體現象學=body phenomenology; 身體圖式=body images; 曼陀羅=Datura |
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| 抄録 | 夏荊山居士的佛教藝術及生活印證表明著修行者的書畫美學，夏荊山所畫的不是只是表象的畫，而是畫出生命體驗的意象，這意象代表著他的一生修行。整體而言，夏荊山居士佛像藝術，是體現出一個真實修佛者的身體現象學，這種以身體為道場，做為心體的觀看，說明著夏荊山居士的佛像藝術是經過相當程度的冥想，重構佛陀的意象。夏荊山先生無疑地乃是在觀佛與畫佛時，將自己修行當中受到佛教原教原型的召喚轉換成具體晝畫符號圖案以描繪其與佛的一場美麗的會遇，這是一場人與神聖者的會遇。夏荊山居士旳書畫藝術目的乃在於宗教意圖上的分享，而能夠分享的乃是肯定每個人其實都有宗教向度，也有對原型圖像的體會，人的終極價值乃在人朝向此的深刻體會，這是伊甸園式鄉愁，每個人都渴望回到原型的家，這是永世的鄉愁。夏荊山居士受到原型圖像的召喚，畫出自己神聖會遇的感知圖像，而我們也受到這樣的感知圖象的潛移默化之功，受到感知圖像的召喚出我們生命當中的神聖原型，而這無非是夏荊山居士在生命蛻變之後的藝術創作所展現的救贖力量。
Master Xia Jing Shan's Buddhist arts and life present the aesthetics of painting and calligraphy of a Buddhism practitioner. Xia Jing Shan paints not only the surface but images full of life experience and meaning. That is the presentation of life-long practices. On the whole, Master Xia Jing Shan's Buddhism arts concretely realize phenomenology of body of a Buddhism practitioner. This type of practice that uses human body as the field and observes from heart explain Master Xia Jing Shan's Buddhism art has been presented from meditation at a certain level to re-construct images of Buddha. Inevitably, when observing and painting, Master Xia Jing Shan transformed the prototype calling of Buddhism into concrete painting and calligraphy symbols and images in beautiful encounters with Buddha, a meeting of a man and Buddha. The purpose of Xia Jing Shan's painting and calligraphy arts is to share religious meanings. Sharing religious dimension understood differently by different people includes the realization of prototype images. Ultimate values of each of use depends on our deep understanding towards it. This is Eden type nostalgia: each of use is longing for the return of prototype home, the eternal nostalgia. Master Xia Jing Shan received the calling of prototype images and created conceptual images when he met with Buddha and we also felt the imperceptible influence of these conceptual images and get to know the calling of the Buddha prototype in our life. This is definitely the salvation power presented in the artistic presentation of Master Xia Jing Shan after his life transformation. |
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| 目次 | 前言 12
一、佛教繪畫藝術乃是修行歷程的展現 12
二、夏荊山大量從事佛教繪畫藝術乃是受到宗教原型的召喚 14
三、以佛教圖像藝術為支藉再召喚觀賞者的原型 16
四、夏荊山的藝術創作歷程乃是神聖原型身體圖式創作 21
伍、夏荊山的身體圖式的神聖原型創作乃是進行一場曼陀羅花式的治療--藝術治療 23
陸、夏荊山的藝術創作乃是紀念神聖事件的儀式--透過儀式一次次備祝聖 25
柒、原型圖像的召喚--生命蛻變之後的藝術創作救贖過程 27
捌、題外話一章：身體知覺現象來看佛像藝術 30
總結 35
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| ISSN | 24126233 (P) |
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| ヒット数 | 537 |
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| 作成日 | 2018.09.03 |
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| 更新日期 | 2020.06.15 |
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