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江曉航居士觀音佛像畫的傳承探索=A Study on Heritage and Exploration of Guanyin Painting Works of Master Chiang Hsiao-Hung |
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| Author |
陳孟誼 (著)=Cheng, Meng-yi (au.)
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| Source |
夏荊山藝術論衡=Journal of Xia Jing Shan's Art
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| Volume | n.3 |
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| Date | 2017.03 |
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| Pages | 85 - 118 |
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| Publisher | 財團法人夏荊山文化藝術基金會 |
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| Publisher Url |
http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
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| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| Content type | 期刊論文=Journal Article |
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| Language | 中文=Chinese |
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| Note | 作者為國立臺灣藝術大學書畫藝術學系博士生 |
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| Keyword | 觀音佛畫像=Guanyin paintings; 江曉航=Chiang Hsiao-Hung; 夏荊山=Xia Jing Shan |
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| Abstract | 佛像畫之發展過程中，工筆白描與青綠設色分別在宋代發展至高峰，而清末民初以後，隨著西風東漸，在強調寫生與光影的潮流下，傳統佛像畫逐漸失去一種因為信仰作畫，發自心裏所產生的高雅肅靜之感，正當大家惋惜傳統流失之際，夏荊山居士與江曉航居士的兩代傳承，給了世人重新學習欣賞莊嚴與淡雅的佛像畫，從中看到佛㔁徒發願力行的感人之作。
江曉航居士為台灣知名佛畫家與觀音畫家，其創作師承夏荊山居士與姚夢谷等名家，後來又上窺唐宋名家佛像畫跡，在一生所做 500 多件作品中，觀音畫像即有一半以上，本文試圖透過其觀音畫作之分析，了解其畫作特色，探討其與傳統佛像畫的繼承和創新之處，並比較江曉航居士與夏荊山居士兩者繪畫作品表現之異同，做為後人延續佛像畫的學習借鏡。
During the development of Buddhist paintings, line drawing and color arrangement came to their peaks in Song Dynasty, but after the end of Qing Dynasty and the beginning of the Republic of China, western influence became dominant, with the emphasis of drawing from life and contrast of light and shadow, traditional Buddha paintings gradually lost the graceful and serene feeling from the bottom of heart as religious arts. When we all felt sorry for the loss of tradition, Master Xia Jing Shan and Chiang Hsiao-Hung in two generations brought back Buddha paintings that enable us to re-learn how to appreciate serene and graceful Buddha paintings. From these works,we are inspired by the devotion of Buddhists to work very hard to practice their belief.Master Chiang Hsiao-Hung is a prestigious Buddha artist and Guanyin painter. He learned his painting from great artists including Xia Jing Shan and Yao Menggu. Later,he became interested in famous Buddha painting works of masters in Tang and Song Dynasty. Among his 500 pieces, more than half are Guanyin paintings. This paper attempts to explore features in his Guanyin paintings and examine his heritage and creation of traditional Buddha paintings. By comparing differences presented in painting works of Chiang Hsiao-Hung and Xia Jing Shan, lessons will be learned for future Buddha painters. |
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| Table of contents | 壹、前言 87
貳、夏荊山居士知佛像畫創作 88
一、生平簡述 88
一、繪畫藝術概況 90
二、夏荊山居士之觀音佛像畫特色淺析 93
三、夏荊山居士與「南宋院體畫」之關係 95
參、江曉航居士之觀音佛像畫創作 99
一、生平簡述 99
二、繪畫藝術概況 100
三、江曉航居士觀音佛像畫特色淺析 103
(一)主題與留白融合的明確畫題 104
(二)生動與莊嚴融洽的面目神情 105
(一)重彩與淡彩混合的淡雅細膩 109
肆、夏荊山居士與江曉航居士表現風格之異同 110
一、在線條用筆方面 111
二、在構圖設色方面 112
三、在繪圖主題方面 114
伍、結論 116
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| ISSN | 24126233 (P) |
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| Hits | 445 |
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| Created date | 2018.09.04 |
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| Modified date | 2020.06.15 |
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