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夏荊山筆下的文殊普賢二菩薩圖像試析=Analysis of Bodhisattvas Mañjuśrī and Samantabadhra Paintings by Xia Jing Shan |
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| 著者 |
陳清香 (著)=Chen, Ching-hsiang (au.)
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| 掲載誌 |
夏荊山藝術論衡=Journal of Xia Jing Shan's Art
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| 巻号 | n.8 |
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| 出版年月日 | 2019.09 |
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| ページ | 77 - 102 |
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| 出版者 | 財團法人夏荊山文化藝術基金會 |
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| 出版サイト |
http://www.xjsacf.com/TW/Showroom02/ugC_ShowroomItem.asp
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| 出版地 | 臺北市, 臺灣 [Taipei shih, Taiwan] |
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| 資料の種類 | 期刊論文=Journal Article |
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| 言語 | 中文=Chinese |
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| ノート | 作者為中國文化大學史學所系教授
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| キーワード | 文殊菩薩法義=Bodhisattva Mañjuśrī teaching; 普賢菩薩法義=Bodhisattva Samantabadhra teaching; 夏荊山佛畫=Buddhist art by Xia Jing Shan; 文殊圖像=images of Mañjuśrī; 普賢圖像=images of Samantabadhra |
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| 抄録 | 夏荊山是當代知名佛畫家，自早年作畫至今，數十年來，累積作品已達百千之數。畫風秉承中國傳統文人畫的風韻，加上個人對佛法的信心與體驗，因此歷年所創的畫作中，佔絕大多數，佛畫為其畫作的主軸。
夏居士的佛畫題材，包括佛像類的釋迦世尊、藥師琉璃光佛、阿彌陀佛等；菩薩類的觀音菩薩、文殊菩薩、普賢菩薩、地藏菩薩、主尊佛的脅侍菩薩等；祖師善聖聲聞類的達摩祖師、寒山、拾得、諸羅漢等；護法神類的四大天王、韋馱天尊等。
本文選夏居士所作菩薩像中的文殊普賢像予以討論之，文中首先追溯傳統佛畫上的文殊普賢菩薩圖像，備述其法義與畫風的演變，再進入夏居士的佛畫，謹就所創作的十餘組文殊普賢菩薩像為題，先就畫中架構予以分類為三，再進一步分析其文殊與普賢畫作技藝風格的傳承與創新，以及所蘊含的法義。
Renowned contemporary Buddhist painter, Xia Jing Shan, has accumulated over thousands of paintings since he started his art career decades ago. Inheriting the essence of traditional Chinese literati painting, Xia also incorporates in his art his personal faith and experience with Buddhism, with his entire oeuvre consisting mainly of paintings depicting subject matters related to Buddhism, especially Buddhist portraits.
Xia has depicted Buddhist figures including several buddhas, such as Shakyamuni, Bhaiśajyaguru (the Medicine Buddha), and Amitabha, and bodhisattvas such as Avalokiteśvara, Mañjuśrī (Monju), Samantabadhra (Fugen), Ksitigarbha, and acolytes next to Buddhas. He also paints monks and sages, including Bodhidharma, Hanshan, Shide, and various Arhats, and also celestial guardians, such as the Four Heavenly Kings, Skanda, and others.
This paper focuses on paintings of Bodhisattvas Mañjuśrī and Samantabadhra by Xia Jing Shan, and begins by reviewing paintings of these two bodhisattvas found in traditional Buddhist portraits, examining how the principles and teachings and also the artistic styles have evolved. The paper then transitions to examine Buddhist portraits by Xia, focusing on the dozens of Bodhisattvas Mañjuśrī and Samantabadhra portraits the artist has created. The structures observed in the paintings are divided into three categories, with further analysis conducted on the traditions and innovations demonstrated by Xia on the techniques and stylistic expressions he has used in his Bodhisattvas Mañjuśrī and Samantabadhra portraits, with the teachings and virtues embodied also discussed. |
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| 目次 | 一、前言 79
二、佛經所載文殊普賢二菩薩的法義 80
(一)有關文殊菩薩的經典譯本與圖像 80
(二)有關普賢菩薩經典與圖像 82
(三)宋代以下至明清之際的文殊普賢圖像 83
三、夏荊山文殊普賢畫像的群組 84
(一)作為釋尊左右脅侍菩薩的文殊普賢像 84
1.釋迦三尊像的文殊普賢 84
2.釋迦群像的文殊普賢 84
(二)單一或坐於坐騎之上的文殊或普賢像 88
1.普賢菩薩 88
2.文殊菩薩 90
(三)以文殊或普賢為主尊的群組畫 93
四、夏荊山所畫文殊普賢菩薩風格特徵 94
(一)所畫文殊普賢菩薩像的圖像源流 94
(二)創意的文殊與普賢菩薩造形 96
1.增添鬍鬚面向的文殊普賢 96
2.化身多面多體的文殊坐騎 97
3.多首多體多層的普賢坐騎 98
(三)圖像題款文句中所彰顯的法義 99
五、結語 100 |
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| ISSN | 24126233 (P) |
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| ヒット数 | 514 |
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| 作成日 | 2020.01.10 |
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| 更新日期 | 2020.06.15 |
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