花鳥畫=Flower and bird painting; 寫意=Free-hand painting; 蓮花三喻=Three metaphors of the lotus; 一花一世界=To see a world in a wild flower
摘要
花鳥畫是中國傳統繪畫的三大題材（山水、花鳥、人物）之一。本創作論述以寫意花鳥畫為主軸，融合中國畫論中南齊謝赫《古畫品錄》所提出的「六法」——「氣韻生動、骨法用筆、應物象形、隨類賦彩、經營位置、傳移模寫」，以此梳理中國傳統花鳥畫的發展與精髓，並且窺探寫意花鳥畫所蘊涵的佛教哲理。歷代的藝術家，或承襲傳統，或開創個人獨特的面貌，來展現對生命情境的感悟，因而產生了多元的繪畫風格。 天竺佛教於東漢時傳入中國，佛教藝術為佛教思想與藝術境界之匯合，融宗教、藝術於一爐。佛經中多假藉自然現象加以比喻和剖析，而花鳥畫是以大自然的景物為描繪的對象，故而花鳥畫自是蘊涵著佛教的哲理。例如蓮花出汙泥而不染之特性，為聖潔的表徵，佛教以蓮花為佛花，且以蓮花喻佛法。《妙法蓮華經》所闡述蓮花三喻——為蓮故華、華開蓮現、華落蓮成亦為本論文主旨與筆者創作之主要內容。 本文章節主要分為：第一章、緒論；第二章、中國花鳥畫的發展與風格；第三章、中國花鳥畫中的佛教哲理；第四章、吳翠娟花鳥畫傳習歷程；第五章 、吳翠娟「一花一世界」花鳥創作作品解析；第六章、結論。用以說明中國花鳥畫的藝術之美，以及筆者在寫意花鳥畫創作上的歷程與論述。 Flower and bird painting is one of the three major subjects of traditional Chinese painting(landscape, flower and bird, figure). This thesis mainly focuses on free-hand flower and bird painting, integrating the 'Six Principles' from Xie He's Gu Huapin Lu("Classified Record of Painters of Former Times")during the Southern Qi dynasty. The Six Principles are as follows: Artistic innovation(also known as 'spirit resonance'), strategic brushwork, accurate depiction of subjects, appropriate coloring of these subjects, effective arrangement, and learning from past masters through imitation. These became the basic standards of both the Chinese painter's training and the critic's judgment—to explore the Buddhist philosophy inherent in free-hand flower and bird painting. Artists over the generations, either adhering to tradition or creating their own unique styles, have expressed their perceptions of life, resulting in a variety of painting styles. During the Five Dynasties period, the stylistic divergence of Huang Quan and Xu Xi laid a foundation for Chinese flower and bird painting. Buddhism from India was introduced into China during the Eastern Han Dynasty. Buddhist art represents the convergence of Buddhist thought and artistic realms, melding religion and art. Buddhist scriptures often use natural phenomena as metaphors for analysis, and flower and bird paintings, which depict natural scenes, are naturally compatible with this. Thus, flower and bird paintings inherently contain Buddhist philosophy. The lotus, emerging unblemished from mud, symbolizes sanctity. Buddhism adopts the lotus as a symbol of the Dharma. The 'Lotus Sutra' elaborates on the three metaphors of the lotus—the flower because of the lotus, the lotus reveals as the flower opens, the lotus forms as the flower falls'—which also form part of this creative work. The main sections of this paper are: Chapter 1, Introduction; Chapter 2, Development and Style of Chinese Flower and Bird Painting; Chapter 3, Buddhist Philosophy in Chinese Flower and Bird Painting; Chapter 4, Wu, Tsui Chuan's Journey in Learning Flower and Bird Painting; Chapter 5, Analysis of Wu, Tsui Chuan's ' To See a World in a Wild Flower '— Flower and Bird Creations; Chapter 6, Conclusion. This aims to illustrate the artistic beauty of Chinese flower and bird paintings, as well as the author's journey and discourse in the creation of free-hand flower and bird paintings.
