|
|
|
 |
|
|
|
|
|
|
文以載道：夏荊山晚年鍾馗創作與傳統書畫的對話=Culture as a Vehicle of Moral Instruction: Dialogue Between Zhong Kui by Xia Jing Shan in His Later Years and Traditional Calligraphy and Painting |
|
|
|
| Author |
王舒津 (著)=Wang, Shu-jin (au.)
|
|---|
| Source |
夏荊山藝術論衡=Journal of Xia Jing Shan's Art
|
|---|
| Volume | n.9 |
|---|
| Date | 2020.03 |
|---|
| Pages | 35 - 58 |
|---|
| Publisher | 財團法人夏荊山文化藝術基金會 |
|---|
| Publisher Url |
http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
|
|---|
| Location | 臺北市, 臺灣 [Taipei shih, Taiwan] |
|---|
| Content type | 期刊論文=Journal Article |
|---|
| Language | 中文=Chinese |
|---|
| Note | 作者為佛光大學歷史學系副教授
|
|---|
| Keyword | 夏荊山=Xia Jing Shan; 鍾馗=Zhong Kui; 浙派=Zhe School; 海派=Shanghai school |
|---|
| Abstract | 夏荊山創作能量豐沛，耄耋之齡作品數量依然可觀。晚年多以鍾馗與達摩為主題，且變中年的細密畫風與繁複構圖為粗放寫意。本文欲以其晚年創作的鍾馗為探討重心，2008年至2012年間，夏荊山有大量的鍾馗作品問世，其筆下的鍾馗多黑臉福態，或斬鬼、遷移、嫁妹、迎蝠、飲酒、品茶、賞畫、觀瀑，形象多變。除了傳統熟悉的鍾馗形象之外，似有不少自出胸臆。夏荊山筆下的鍾馗雖與達摩一樣，常以較為自由放逸的筆墨繪就；然而，相較於達摩畫中的簡筆渴墨所展現的禪宗意趣，鍾馗畫中常佐以山水背景，且構圖多有取自前人之處，不僅在畫中可見與戴進、溥心畬與任伯年作品的關聯，也可見取自其稍早佛畫作品中的元素。本文將藉分析夏荊山的鍾馗畫作，期能窺見其創作中對於傳統書畫的傳承與集大成。
Xia Jing Shan was a prolific artist, and even as an octogenarian, he was still creating a tremendous amount of art. His later works consisted mostly of depictions of Bodhidharma and Zhong Kui, as he transitioned from more refined style in his earlier years and intricate compositional approach to one that was more robust, vigorous, and lyrical. The focus of this paper is on the subject of Zhong Kui depicted in his later works. Between the years, 2008 and 2012, Xia Jing Shan created many Zhong Kui paintings. He painted Zhong Kui with a dark face and plump figure and engaging in a range of different activities, including slaying ghosts, migrating, marrying off his sister, accompanied by bats, drinking alcoholic spirits or tea, appreciating art, or gazing at a waterfall. In addition to depicting Zhong Kui in a familiar, traditional way, Xia also often portrayed him in a personal and imaginative manner. He painted both Zhong Kui and Bodhidharma using liberated, free-flowing ink gestures. However, compared to the Zen implications seen in his paintings of Bodhidharma, his paintings of Zhong Kui are often set against a natural background, with the composition showing many references to his predecessors, including references to artworks by Dai Jin, Puyi, and Ren Bonian, and also elements extracted from the artist’s own earlier Buddhist paintings. This paper examines Xia’s Zhong Kui paintings and looks into how he sought to preserve the heritage of traditional Chinese art and integrate it in his own creations. |
|---|
| Table of contents | 一、繪史上鍾馗形象的演變 37
二、夏荊山的摹古鍾馗 42
三、夏荊山鍾馗畫的創新與自我風格 50
四、結論 55 |
|---|
| ISSN | 24126233 (P) |
|---|
| Hits | 323 |
|---|
| Created date | 2020.04.06 |
|---|
| Modified date | 2020.06.15 |
|---|
 |
Best viewed with Chrome, Firefox, Safari(Mac) but not supported IE
|
|
|
