曉雲導師與一燈師的禪藝美學 - 蕭惠幸書畫創作論述=Mentor Ven. Hiu Wan and Mentor A Light of Zen art and aesthetics – The exposition of Hsiao, Hui Hsin’s creative painting and calligraphy
In the 1960s, after western modernism removed restraints of the forms and media of Chinese painting and calligraphy, all forms of Chinese painting and calligraphy flourished. Moreover, postmodernism even deconstructed Chinese painting and calligraphy by way of pluralism. In the ambiance of revolution and pluralism, the aspects of Chinese painting and calligraphy in Taiwan were fully liberalized and expanded. In the fickle trend of the times, responding to the change of the times with ever-changing forms has been the inevitable characteristics of pluralism and multi-meaning of contemporary art. How to respond to the characteristics of the times and consider the essence and connotations of Chinese painting and calligraphy is a concerned issue for every art creator. This thesis is focused on Master Ven. Hiu-Wan’s Zen poems and paintings and Huang Chin-Ling’s Zen calligraphy and meditative mind. The author has sorted out some contexts and directions of their art of Chinese painting and calligraphy, influenced by Buddhism and Zenism, their study of poetry and Chinese painting and sublimation of their works in hopes of benefitting to the future researchers. The author also hopes that contemporary Chinese painting and calligraphy creators can transcend the external appearance and symbols of the symbolic form and put more efforts on the depth of cultural connotations and deposits. As to how to build the form of expression of the style of Chinese painting and calligraphy and simultaneously internalize the highly aesthetic conception of the artistic spirit of Chinese painting and calligraphy so as to make the special media of Chinese painting and calligraphy in modern art carry and maintain the Chinese people’s exclusive, cultural, aesthetic connotations, artists in the past had their unique thoughts and the wondrous treatise of “emptiness” and “existence” in Buddhist prajñā even directly affected the sublimation of artists’ soul. The Buddhist thought of emptiness and existence is full of sublime states. Therefore, in terms of religion’s influences on the development of Chinese art, what’s superior is the intangible state of prajñā. Prajñā’s thought of emptiness and existence is unique in the development of Zen wisdom in Chinese Buddhism. It enables people to understand the Buddhist symbols and helps them transcend life and death. Buddhism says, “Myriad dharmas return to the One.” The One here means one thought. Buddhism says “Myriad dharmas arise from the mind alone.” Thus, the more active the mind is, the richer the artistic state is. The thesis takes Master Ven. Hiu-Wan’s Zen poems and paintings and Huang Chin-Ling’s creation of Chinese painting and calligraphy as an example. The Zen conception, Buddhist classics connotations and the civilization and influence of the combination of Buddhism and art are unique styles and directions in the art of Chinese painting and calligraphy. During the process of writing the thesis, the focus on Buddhist scriptures, Zen poems and paintings has broadened the author’s horizons. Analyzing the theories and practicing Buddhism has not only changed the author’s li
