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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 |
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| 著者 |
余定檉 (著)=Yu Ding-Ching (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.10 |
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| 出版年月日 | 2020.09.01 |
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| ページ | 99 - 120 |
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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 | 作者為香港大學附屬學院兼任講師 |
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| キーワード | 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 |
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| 抄録 | 在夏荊山佛畫中，就如來觀音的完美追求、山水人物的隱逸精神、鍾馗羅漢的特立個性，研究成果均已豐碩，可惜反映他「畫道合一」精神面貌另一面的水陸畫卻未被注意。夏氏佛畫向上的出世超越，必須與其水陸畫的社會向人文關懷對觀，才能合成圓滿的美學整體，才能體會夏荊山完整的修為境界。本文以兼融差別、矛盾、對立而臻於極致和諧的華嚴宗美學，透視夏荊山涵蘊萬有的人文關懷以及莊嚴繁華的美學
意蘊。本文發現，因「理事無礙」而聖化世俗苦難甚至地獄想像題材，由「一真法界」而融通神佛以整全接應民間俗求，均反映了夏氏人文關懷中深刻的感同身受，從而也使夏氏精神境界全方位地顯現；由「法界緣起」而工筆水墨順手拈來而揉合，由「事事無礙」而挖掘匠手的藝術可能，均將水陸畫從莊嚴壇場的法事道具，昇華至富含美學意蘊的審美珍品。夏氏突破傳統水陸畫及其他水陸畫摹繪者的地方，在於他能包羅萬有地融會中西各派技巧及延展其風格特色：揉合文人畫的想像思維與工匠畫的具象形態；工筆線條與水墨渲染交錯如一；故意誇張商業俗氣審美而轉化成其「工而又工」的獨有藝術風格；甚至混進西洋畫空間構圖等現實取向元素，而突破主流國畫重意輕象的美學觀。
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. |
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| 目次 | 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 |
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| ISSN | 24126233 (P) |
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| ヒット数 | 273 |
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| 作成日 | 2020.09.30 |
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| 更新日期 | 2020.09.30 |
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