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南洋水墨畫中的道釋佛精神——論鍾正山的寫意人物畫=The Confucianist-Buddhist-Taoist Spirit in the Painting of Nanyang – A discussion on Zhong Zheng Shan’s Portraits |
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| Author |
鍾瑜 (著)=Chung, Yi (au.)
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| Source |
回顧與前瞻馬來西亞佛教：第一屆馬來西亞佛教國際研討會論文集=Retrospective and Perspective of Malaysian Buddhism: Proceeding of the 1st International Conference on Malaysian Buddhism
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| Date | 2010.11 |
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| Pages | 217 - 224 |
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| Publisher | 馬來西亞佛教學術研究會=Buddhist Research Society of Malaysia |
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| Publisher Url |
http://www.brsm.org.my
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| Location | Petaling Jaya, Selangor, Malaysia [八打靈再也, 雪蘭莪州, 馬來西亞] |
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| Content type | 會議論文=Proceeding Article |
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| Language | 中文=Chinese |
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| Abstract | 佛教自公元前2世紀從大月氏傳入中國，強烈西域特色的佛教繪畫經過漫長的交流和漢化過程，至唐代已經完全與中國哲學、藝術融合，導致中國畫出現新的民族形式。無論在創作觀念、技法、題材和表現內容上，佛教繪畫造就了中國傳統繪畫的變革和興盛。唐代王維開創「禪宗畫」；宋代士大夫又將之推向精思巧密的文人畫，使之具有文學性、哲學性和抒情性。明清時期以後，受到西方藝術影響的文人畫在廣泛吸收外來技巧和創作觀念之後，表現了時代氣息。本文志在探討20世紀上旬，文人畫隨同南遷的中國畫家傳入南洋地區，幾代的水墨畫家極力在傳統中國美學價值的基礎上，吸收西方現代藝術養份，結合本土多元文化特色，突破傳統舊框架，創造具有熱帶地域風格的《南洋水墨畫》。可是，南洋水墨畫家在保持傳統文人畫精粹之際，又是如何藉著道釋人物畫來傳達佛教頓悟、空靈的精神，及儒道佛相融合的創作思想呢？
Buddhism came from Da Yue (present day north west China) into China during the 2nd BC. Since then Buddhist paintings with strong characteristics of western lands have undergone a long process of interaction and “Han”nization, and by the time of the Tang dynasty, have been completely integrated with Chinese philosophy and arts, culminating in a new ethnic characteristic in Chinese painting. In terms of creativity, skill, theme and content, Buddhist paintings have contributed to the transition and popularity of traditional Chinese
painting. Wang Wei of Tang dynasty innovated the “Zen painting”; The scholars of Song dynasty transformed it to personality painting, making it imbued with literature, philosophy and making it more soothing. After the Ming and Qing dynasties, personality painting reflected the contemporariness, after having been influenced by Western arts and absorbing foreign skills and creative thoughts. During the first half of the 20th Century, personality paintings were brought into Nanyang by the immigrant Chinese painters. This paper intends to discuss how, based on traditional Chinese aesthetic values, several generation of painters attempt to absorb elements of Western arts, integrating the local plural cultural characteristics, breakthrough the traditional framework, and creating Nanyang paintings that depict traits of the tropical land. How painters of Nanyang, while preserving the essence of traditional personality paintings, uses personality painting of Taoists and Buddhists to convey the Enlightenment of Buddhism, and the creative thoughts in the integration of Confucianism
Buddhism Taoism. This will also be discussed. |
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| Table of contents | 一、佛教美術對中國繪畫的影響 217
二、傳統文人畫中的道釋佛精神 218
三、南洋水墨畫中的道釋佛教精神 220
1. 在題材上具有開創性 221
2. 在表現技法上有筆有墨 221
3. 在表現形式上借鑒大自然 222
4. 在思想上進入三教合一的「真善美」境界 222
5. 在精神上體現禪宗的頓悟 222
6. 在功能上具有寓意警世的教育性 222
四、總結 223
附錄：兩幅鍾正山的畫 224 |
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| ISBN | 9789671009109 |
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| Hits | 285 |
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| Created date | 2023.12.04 |
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| Modified date | 2023.12.04 |
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