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一花一世界——吳翠娟花鳥畫創作論述=To See a World in a Wild Flower： The Creative Statement of Flower and Bird Painting by Wu, Tsui Chuan |
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| Author |
吳翠娟 (著)=Wu, Tsui-chuan (au.)
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| Date | 2024 |
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| Pages | 98 |
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| Publisher | 華梵大學佛教藝術學系碩士班 |
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| Publisher Url |
https://www.hfu.edu.tw/
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| Location | 新北市, 臺灣 [New Taipei City, 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 | 華梵大學 |
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| Department | 佛教藝術學系碩士班 |
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| Advisor | 李璧苑=Lee, Bi-yuan |
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| Publication year | 112 |
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| Keyword | 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 |
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| Abstract | 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. |
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| Table of contents | 目錄 III
表錄 VI
表一、歷代圖表 VI
表二、吳翠娟「一花一世界」作品圖表 X
圖錄 XII
第一章 緒 論 1
第一節 研究動機與目的 1
第二節 研究方法與實踐 2
一、研究方法 2
二、論文書寫與創作實踐流程圖 3
第三節 名詞釋義 4
一、花鳥畫 4
二、一花一世界 6
三、蓮花三喻 7
第二章 中國花鳥畫的發展與風格 9
第一節 「六法」理論下的花鳥形神 9
第二節 歷代花鳥畫的發展與風格 13
第三節 詩書畫相融相合 29
第三章 中國花鳥畫中的佛教哲理 33
第一節 花鳥畫與佛教之自然境界 33
第二節 佛教以蓮為美 35
第四章 吳翠娟花鳥畫傳習歷程 39
第一節 師承淵源 39
一、胡克敏 39
二、金勤伯 41
三、喻仲林 42
四、杜簦吟 43
第二節 師承脈絡 47
一、陳建彰 47
二、陳伯南 48
第三節 吳翠娟師承心得 51
第五章 吳翠娟「一花一世界」花鳥創作作品解析 53
第一節 「一花一世界」創作空間與媒材 53
一、創作空間 53
二、創作媒材 53
第二節 「一花一世界」作品解析 54
作品一〈富貴莊嚴〉 56
作品二〈佛手柑〉 59
作品三〈櫻桃芭蕉水仙〉 62
作品四〈富貴華嚴〉 64
作品五〈玉蘭〉 66
作品六〈海棠〉 68
作品七〈三清圖〉 70
作品八〈為蓮故華〉 72
作品九〈華開蓮現〉 74
作品十〈華落蓮成〉 76
作品十一〈菩提鴿〉 78
作品十三〈玫 瑰〉 80
作品十二〈曇 花〉 82
作品十四〈紫 韻〉 84
作品十五〈白頭翁花〉 86
作品十六〈文人之圖–四君子〉 88
第六章 結 論 91
參考書目 92
附 錄 95
展覽履歷 98 |
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| Hits | 88 |
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| Created date | 2024.08.23 |
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| Modified date | 2024.08.23 |
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