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夏荊山與江曉航觀音佛畫藝術初探=A Preliminary Study into the Guanyin Buddhist Arts of Xia Jing-Shan and Chiang Hsiao-Hung |
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| 著者 |
楊偵琴
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| 掲載誌 |
夏荊山與江曉航 觀音佛像繪畫藝術論壇
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| 出版年月日 | 2016 |
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| ページ | 1 - 29 |
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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/Home/Default.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 | 會議論文=Proceeding Article |
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| 言語 | 中文=Chinese |
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| ノート | 作者單位：國立臺灣藝術大學書畫藝術學系書畫藝術史論組博士生 |
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| キーワード | 夏荊山=Xia Jing-Shan; 江曉航=Chiang Hsiao-Hung; 觀音佛畫=Guanyin Budhist art painting |
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| 抄録 | 中國畫中的神話題材之表現，從新石器時代將軍崖岩畫〈稷神崇拜圖〉及滄源岩畫〈太陽神巫祝圖〉顯現神靈形象之跡，至秦漢時期畫像磚石雕鑿神佛菩薩圖像、葬墓壁畫及彩繪帛畫亦見神仙思想觀，魏晉南北朝佛畫發展蓬勃，畫作隱含神話思維，藉由造像藝術形式傳播義理，中國畫中的神話思維與圖像符號特質，值得探索。
夏荊山(1923-)的佛畫以佛陀及觀音菩薩像為著，畫作融入佛學體悟，佛畫形神兼備，畫境佛典合一；江曉航(1945-2003)師承夏荊山，臨摹歷代名家觀音佛畫，又創顯現代新意，畫作體現佛法教義哲思，蘊含故事語彙。
本文以《夏荊山中國佛像畫集》之畫作及覺無憂藝術〈千年明月─江曉航漢傳觀音藝術特展〉觀音佛畫進行審美，析論畫作之美感特質，觀音佛畫與宗教經典關係密切，文中提出「畫中有佛、佛中有話」之觀點，從觀音佛畫的藝術角度來看，體現《普門品》偈語：「真觀清淨觀，廣大智慧觀，悲觀及慈觀，常願常瞻仰。」之精神，回顧夏荊山與江曉航觀音佛畫藝術成就，內蘊神話思維與佛學哲思，提供佛畫藝術之審美參考。
Since the Neolithic period, manifestations of mythological themes were already prevalent among Chinese paintings with masterpieces from artists such as Jiang Jun Ya’s Ji Shen Chong Bai and Cang Yuan Yan’s Tai Yang Shen, illustrating forms of divinity; it was also not until the Qin and Han dynasties that the concepts of immortals, with works such as stone-carved Buddha, tomb murals and silk paintings came into view. During the Wei, Jin Southern and Northern dynasties Buddhist paintings started flourishing, with paintings that reflected concepts of mythical thinking; sculptural artworks were employed as a medium to spread doctrines on Buddhism, and the concepts of mythical thinking and its semiotics became worth exploring.
The Buddhist paintings of Xia Jing-Shan (1923-) focus on Buddha and Guanyin statues, with teachings of Buddhism integrated into the artist’s works, his vivid paintings which displayed Buddhism are also all-in-one with nature. Chiang Hsiao-Hung (1945-2003), who understudied Xia Jing-Shan, imitated famous ancient Guanyin paintings. Hence, his paintings displayed the teachings of Buddhism, its doctrines and philosophies.
This paper which explores the aesthetics of Buddhist arts, concentrates primarily on the brushworks from the publications: Xia Jing-Shan Chinese Buddhist Art Collections and Brilliant Moon of Compassion – Master Piece of Guanyin by Chiang Hsiao-hung. This is an analysis of the aesthetic qualities behind these paintings. Buddhist art paintings are closely associated with the religious classics, as its wordings clearly state its perspective, “Buddha dwells within the painting, and the words dwell within Buddha”. From the artistic point view of the Buddhist arts, the Universal Door Chapter proclaims: “True Contemplator, Pure Contemplator, Contemplator with Vast, Great Wisdom, Compassionate Contemplator, Kind Contemplator, constant are your vows and constant is our respect”. Here, the artistic achievements of Xia Jing-Shan and Chiang Hsiao-Hung’s Buddhist art paintings, connotations of the mythology behind and its Buddhist philosophy, all provided a source of aesthetic reference to the Buddhist art which have been studied and reviewed. |
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| 目次 | 中文摘要 1
英文摘要 2
壹、觀音佛畫中的神話思維 4
一、觀音佛畫造像起源 5
二、觀音佛畫圖像及其象徵意義 6
貳、以畫修禪的覺者 8
一 落筆前靜坐觀想 9
二、以畫悟道的禪修體驗 10
三、觀者審美歷程 10
參、觀者的審美經驗 11
一、佛經語境下的觀音佛畫 12
二、畫中有佛、佛中有話 14
肆、夏荊山與江曉航佛畫藝術定位 14
參考文獻 17
附錄 18 |
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| ヒット数 | 539 |
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| 作成日 | 2018.09.18 |
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| 更新日期 | 2018.10.09 |
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