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無緣大慈‧同體大悲 李紫晴觀音菩薩像創作自述=Infinite and Unconditional - A narrative of Lee Zih-Ching’s artistic representations of the Avalokitesvara |
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| 著者 |
李紫晴 =Lee, Zih-Cing
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| 出版年月日 | 2020 |
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| ページ | 70 |
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| 出版者 | 東華大學 |
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| 出版サイト |
https://www.ndhu.edu.tw/
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| 出版地 | 花蓮縣, 臺灣 [Hualien hsien, 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 | 東華大學 |
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| 学部・学科名 | 藝術與設計學系 |
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| 指導教官 | 洪莫愁 |
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| 卒業年 | 108 |
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| キーワード | 觀音=symbols; 菩薩=stone carving; 石雕=Bodhisattvas; 繪畫=Avalokitesvara; 象徵符號=painting |
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| 抄録 | 筆者從事石雕創作多年，在一次的機緣下接觸了佛像雕刻，很慶幸得以成就雕刻觀音菩薩像的技術，本次創作研究從觀音三十三應身像中，挑選十尊觀音菩薩像做為創作主題，分別以石雕和繪畫為主要創作媒材。
觀音菩薩在佛教中是最受敬仰的菩薩之一，也是佛教信仰的重要核心，在漢代逐漸傳入中國，期間觀音菩薩在人們心中已經完全漢化、世俗化。觀音菩薩救苦救難，有求必應的形象特質，在演化的過程中，創作形式從原來的男像造型轉變成女像造型。
此次創作研究分為石雕與繪畫兩個部份，石雕創作方面以流暢線條和幾何造型中的長方體互相配置構成空間感。運用符號表徵的形式，呈現單體觀音菩薩像；繪畫部份則以長方格狀為構圖元素，表現時間與空間的堆疊與並置，呈現多變的視覺感受，如蒼穹之浩瀚無際。
本創作將完成十尊立體石雕觀音菩薩像與十幅觀音菩薩畫像，在欣賞觀音菩薩像的藝術內涵時，需先理解其象徵符號的圖像和意涵，透過觀想以獲得心靈的平靜、祥和與安定。筆者期望將傳統觀音菩薩像與現代藝術觀點相融合，啟發清淨自覺的本性，實踐自利利他的崇高理想。
The author of this thesis has been creating stone carvings for many years. She had a fated encounter with the realm of Buddhist statue carvings, and was glad to be able to create skilled carvings of the Avalokitesvara. The body of research in this thesis selects ten out of the thirty-three postures of the Avalokitesvara as its main research subject. They are split into stone carvings and paintings as the main mediums.
The Avalokitesvara is one of the most highly revered Bodhisattvas in Buddhism. She is also an important core of the beliefs of Buddhism. During the time that the Han dynasty came to China, the Avalokitesvara became sinicized as well as secularized in the hearts of people. The Avalokitesvara rescued people from their plights, and had a special quality of granting whatever was asked of Her. It was during the process of this evolution that she became represented as a female rather than a male.
This body of research has been split into two parts - stone carvings and paintings. The stone carvings are composed of a mutual composition of smooth flowing lines and cuboids to create a feeling of space and depth. It uses the form of symbols to represent a singular Avalokitesvara image. The painting aspect uses rectangular boxes as its compositional basis, to express the overlap and juxtaposition between time and space. It displays ever-changing visual experiences, such as the vast and limitless blue dome of heaven.
This results of this body of research are ten three-dimensional stone carvings of the Avalokitesvara, as well as ten paintings of the Avalokitesvara. When admiring the artistic implications of the images of the Avalokitesvara, one first needs to understand the connotations of the symbols behind these images. Through the act of visualization to achieve a tranquil, auspicious and stable state of mind, the author hopes to harmonise and combine traditional images of the Avalokitesvara with the standpoint of modern art. Using an enlightened peaceful consciousness, the author hopes that she is able to achieve the majestic ideal of improving oneself for the purpose of benefiting others. |
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| 目次 | 第一章 緒論 1
第一節 創作動機 1
第二節 創作目的 2
第三節 研究方法與媒材運用 3
第四節 研究的範圍 4
第二章 文獻探討 5
第一節 觀音菩薩略述 5
第二節 觀音菩薩的世俗化 8
第三節 觀音菩薩的典故及傳說 10
第四節 觀音造像的經典依據 17
第五節 觀音菩薩造像形式的轉變 22
第三章 創作發想與形式運用 27
第一節 創作發想 28
第二節 媒材表現 29
第三節 創作的形式與符號 30
第四章 觀音菩薩造像創作說明 33
第一節 創作理念 33
第二節 材質比較與符號意涵 34
第三節 創作流程 37
第四節 作品說明 44
第五章 結論 67
參考文獻 69 |
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| ヒット数 | 174 |
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| 作成日 | 2022.09.28 |
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| 更新日期 | 2023.01.07 |
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