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隱喻●詮釋 ─ 佛教「空」「色」主題 的禪意表現水墨創作研究=Metaphor and Interpretation: Explore the Representation of Zen in Ink Painting Based on the “Emptiness and Form”in Buddhism |
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盧慧玫 (撰)=Lu, Hui-mei (compose)
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| Date | 2016 |
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| Pages | 97 |
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| Publisher | 國立臺南大學 |
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| Publisher Url |
https://www.nutn.edu.tw/
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| Location | 臺南市, 臺灣 [Tainan shih, Taiwan] |
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| Content type | 博碩士論文=Thesis and Dissertation |
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| Language | 中文=Chinese |
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| Degree | master |
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| Institution | 國立臺南大學 |
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| Department | 視覺藝術與設計學系視覺藝術教學碩士班 |
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| Advisor | 陳建發 |
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| Publication year | 104 |
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| Keyword | 禪畫藝術=Zen painting art; 空=emptiness; 水墨創作=ink painting creation |
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| Abstract | 本研究以隱喻的概念，探討佛教「空」、「色」主題的禪意表現。由於「虛空」概 念的提出，使得中國山水畫、禪畫多留空白，以營造虛實相間的意境，表達「空」觀的 佛學思想。題材上，禪畫多以山水、雪景、村墟、孤舟等呈現，以表達靈空、靜寂、自 然之美，但無形中也透露出題材的局限性與留白的千篇一律。「色」是指有形的、具體 存在的物質現象，狹義的「色」包含肉體、情欲等，是眾生切身的問題，早已被西方畫 家發揮得淋漓盡致。因此，本篇嘗試以非傳統的題材、構圖與筆法來詮釋佛教的「空」、「色」思維。
由於欲描述事物的複雜性，西方畫作常藉助於一些象徵符號，以承載其精神層面的 意義，例如：愛、完美、盼望永生、毀滅等。經由這些符號帶來的隱喻效果，有助於拓 展畫作的思維空間，使禪畫「意在言外」的生命力展現無遺。插畫具有直觀的形象性與 真實的生活感，適合用來傳達「空」、「色」的象徵意涵。此外，西方的超現實主義強 調直覺和下意識，主張以不合理的、象徵性的方法描寫幻想與夢境，藉此表達內心世界。 因此，本創作之構圖融入插畫設計與超現實主義的理念，在同一平面上以不同的圖像符 號並陳或交疊，並以水墨與圖像的層次變化，營造虛實相生的意境。本篇以佛教「守戒」 義理的眼、耳、鼻、舌、身、意等為題材，透過多元的表現手法，呈現簡潔、反思、批 判的現代水墨形式。期望此嘗試能為現代禪畫的創作提供一條新的途徑。
本篇共分成五章，第一章說明研究動機、目的、與創作研究方法。第二章探討禪、 禪畫藝術、佛教的「空」「色」觀、與藝術作品中的隱喻美感。第三章闡述創作理念與實踐 過程，第四章解析創作品。第五章為結論。
The concept of metaphor has been used in this work to explore the taste of Zen based on the Buddhism “emptiness and form” thought. Owing to the introduction of the void, some empty spaces were always left in the Chinese landscape painting and Zen painting to build the false of true artistic conception. The purpose was to express the “emptiness” concept of the Buddhism. The landscape, snow scene, village, isolated boat, etc, were the common topics in the Zen painting to illustrate the beauty of detachment, silence, and nature. Nevertheless, it reveals the limitation of topics, and the widespread, but boring empty spaces. “Form” is everything visible. But “form” embraces body and lust, in a narrow sense, which is relevant to all beings, and has been illustrated thoroughly by western artists. Thus, attempt has been made at the present work to interpret the “emptiness and form” in Buddhism in a different way by use of untraditional topics, composition, and brush stroke.
Owing to the complexity of things under study, western artists used to adopt some symbolic elements to carry the essence of spiritual part, such as love, perfectness, wishing for eternal life, and destruction. The metaphor effect brought about by these symbols is helpful to expand the dimension of thought in the painting, letting the characteristics of Zen painting “meaning beyond the word” more vivid. The illustration, with its intuitive visualization and real livelihood, is suited to express the symbolic connotation of “emptiness and form”. Besides, western Surrealism emphasized the intuition and subconscious. By employing fantasy and dream imagery, artists generated creative works that exposed their inner minds in eccentric, symbolic ways. Therefore, the illustration design and the concept of Surrealism have been fused into the composition of this work. Different image symbols were displayed in parallel or crossed on the same plane. The gradational variations of ink and image established the realm of fiction and reality coexisting. The topics, such as eye, ear, nose, tongue, body, and mention, arise from keeping precepts essence of the Buddhism. Through the multiplex representation mode, a contemporary ink painting style with simplicity, retrospect, and criticism has been created. It’s hoped that the creation of this ink painting works provides a new route to the contemporary Zen painting.
The thesis altogether is divided into five chapters; the first chapter introduces the motivation, purpose, and method. The second chapter deals with Zen, Zen painting, “emptiness” and “form” thought in Buddhism, and the beauty of metaphor in art works. The third chapter illustrates the idea of creation and realization details, and the fourth chapter analyzes the creation works. The fifth chapter is the concluding remark. |
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| Table of contents | 中文摘要 i
英文摘要 ii
謝辭 iii
目次 iv
表次 v
圖次 vi
第一章 緒論 1
第一節 研究動機與目的 2
第二節 創作研究方法 4
第三節 研究範圍與限制 5
第四節 名詞釋義 6
第二章 隱喻˙ 詮釋─禪畫與「空」、「色」表現 8
第一節 禪與生活禪 8
第二節 禪畫藝術 10
第三節 佛教的「空」「色」觀 19
第四節 藝術作品中的隱喻美感 23
第三章 創作理念與實踐 32
第一節 創作理念 32
第二節 創作實踐 33
第四章 「空」「色」主題的作品解析 44
第一節 總體創作解析 44
第二節 個別作品解析 48
第五章 結論 79
參考文獻 82 |
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| Hits | 239 |
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| Created date | 2021.11.25 |
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| Modified date | 2023.01.16 |
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