Site mapAbout usConsultative CommitteeAsk LibrarianContributionCopyrightCitation GuidelineDonationHome        

CatalogAuthor AuthorityGoogle
Search engineFulltextScripturesLanguage LessonsLinks
 


Extra service
Tools
Export
晚明畫論詩化與禪宗之關係
Author 林素玟
Source 國際佛學研究=The Annual of International Buddhistic Studies
Volumen.2
Date1992.12
Pages245 - 268
Publisher靈鷲山般若文教基金會國際佛學研究中心
Location臺北市, 臺灣 [Taipei shih, Taiwan]
Content type期刊論文=Journal Article
Language中文=Chinese
Keyword佛教藝術=Buddhist Art; 禪宗=Zen Buddhism=Zazen Buddhism; 南頓北漸; 言意之辨; 文人畫; 妙悟
Abstract晚明的繪畫理論,有強烈的文學化--甚至詩歌化的傾向
,即繪畫的美學觀有逐漸朝向詩歌的美學典範中,如以董其
昌為首的文人畫派所提出的妙悟,性靈,墨戲等. 而董氏適
在晚明畫派分立,各承師法時提出文人畫的「南北分宗」
說,且作價值之分判,謂南宗文人畫為禪家之頓悟,評北宗
設色山水為禪家之漸悟,並將一已歸之南宗一系,且援引當
時流行的文學術語「妙悟」作為繪畫的最高典範. 若依徐復
觀先生之說法,則董氏所標舉的藝術宗旨均來自莊子美學
思想及魏晉玄學,然而董其昌何以借用禪宗的南頓北漸理論
作為其藝術評價之標準? 當時流行的繪畫思想和禪宗思想之
關係若何? 晚明禪宗之發展又如何? 本文即試圖從徐復觀先
生立論的反方向作思考,探討禪宗思想與中國藝術間的互
動關係,並藉著分宗分派的歷史的現象,鉤稽各種思想學說
背後的權力結構與勢力之消長,以說明晚明繪畫理論在各種
社會,思想之條件下,如何走向詩歌美學的典範中.

本文分五節:一. 前言,簡述中國繪畫之歷史發展;
二. 分宗說之迷思,說明南頓北漸的分派,並不始於慧能,
神秀時代,董其昌的提倡南北分宗說,其背後有一權力鬥爭
的立場; 三. 文人的禪悅之風,說明晚明禪悅之風與文學,
思想的關係,影響所及,繪畫遂有「師已心而不師古人」的
美學觀; 四. 言,意,象之辨,說明詩,畫在禪宗「妙悟」
的共同經驗中,得到合理的會通,也造成繪畫逐漸喪失其藝
術本質的危機,引發清代藝術思想之變革; 五. 結論,總結
思考畫論詩化與禪宗之關係.

The painting theory in late Ming Dynasty has a
strong literary--or even Poetic tendency,that is ,
the esthetic concept of painting is being directed
towards poetic esthetics, such as subtle
understanding,natural disposition and intelligence,
MOR HSI.,etc. put forth by the painting school of
literary men led by Tung Chi-chang. Tung,in late
Ming Dynasty when painting sects rivaled each other,
each inheriting its own methods taught by their own
teachers judged merits, saying that the south
painting sect of literary men is the sudden
realization of the masters of the Zen school,and
that the North Sect is the gradual understanding of
colorful landscape,puts forward the theory of
[North and South separate painting Sects] of
literary men,catergorize himself in a department of
the South Sect and cites the popular term in
literature,[subtle understanding] as the supreme
model. According to Mr. Hsiu Fu-Kuan,the artistic
purports illustrated by Mr.Tung are derived from
esthetic thoughts of Chuang-Tze and metaphysics in
Wei Chin Dynasty. How lever,why does Tung Chi-chang
evaluate artistic values by means of the theories of
Sudden realization of the South Sect and gradual
understanding of the North sect? What's the relation
between the painting thoughts of those days and
thoughts of the Zen Sect of Buddhism? How is the
development of the Zen Sect of Buddhism in late Ming
Dynasty?

This thesis studies the reciprocity between the
thoughts of Zen Sect of Buddhism and Chinese art
from the reverse side of Mr. Hsiu Fu-Kuan's
assertion; through the historical phenomena of
different sects and branches, probes, the
composition of power and ups and downs of influence
behind each thinking theory,to explain how the
painting theory of late Ming Dynasty,under various
societies and thoughts, moved towards poetic
esthetics.
Hits392
Created date1998.07.22
Modified date2023.11.14



Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE

Notice

You are leaving our website for The full text resources provided by the above database or electronic journals may not be displayed due to the domain restrictions or fee-charging download problems.

Record correction

Please delete and correct directly in the form below, and click "Apply" at the bottom.
(When receiving your information, we will check and correct the mistake as soon as possible.)

Serial No.
252313

Search History (Only show 10 bibliography limited)
Search Criteria Field Codes
Search CriteriaBrowse