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| 著者 |
吳永猛
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| 掲載誌 |
華岡佛學學報=Hwakang Buddhist Journal
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| 巻号 | n.8 |
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| 出版年月日 | 1985.10 |
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| ページ | 257 - 277 |
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| 出版者 | 中華學術院佛學研究所 |
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| 出版サイト |
http://www.chibs.edu.tw/
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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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| キーワード | 禪畫; 佛教藝術=Buddhist Art; 禪宗=Zen Buddhism=Zazen Buddhism; 公案 |
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| 抄録 | 寂靜的大自然，鬱鬱蔥蔥，生生不息. 一般繪畫是表達
自然與人生的真善美，以求創作者與欣賞者心靈之構通為主
趣. 無非藉線條與色彩表達出畫家的意思，傳達給觀賞者使
之得到心靈的共鳴而已. 從其發展趨向不外是：圖象→印象
→半抽象→抽象→無象. 一般宗教畫，是要善導信徒們內心
生起恭敬心，導至諸惡莫作，眾善奉行的說教目的.
禪畫，除借用一般繪畫的表達，更超越宗教畫的意義
. 因禪家能以無象而有象，襯托出『道象』. 換言之，禪家
既能善用繪畫技巧，推陳出新，又能提昇宗教畫的境界，掌
握性命之本源，無拘無束，收放自如，寫出心中丘壑，宏揚
佛法.
為摸索體會禪畫的特質，本文擬如下探述：
一. 前言：敘述禪畫的特徵.
二. 筆墨：水墨最能發揮寫意的內涵，千變萬化，溶合
渾厚，一氣呵成.
三. 空白：色空不異，不取不廢，畫與不畫間，那種
空廣的感覺，可讓心靈有迴旋的餘地.
四. 寫意：弄筆戲墨，遺貌取神，得心應手，寫出禪道
心意.
五. 機鋒：禪家啟發學人，機鋒險峻，風度親切，言語
幽默，妙味充份，超凡入聖，句句真言，而
不落第二義諦.
六. 修道：天人合一. 心物合一. 性命天道的本源，明
心見性，道在平常，禪宗由修證頓悟，體會
其中堂奧.
七. 結語：禪者對萬里長空，借一朝風月，示人正法眼
藏. 禪宗標榜『不立文字，教外別傳，直指
人心，見性成佛』. 任何一種有形的方式
，落入言詮，已非禪意. 禪畫只是一方便善
巧，借用繪畫標指『道心』，祈發潛德幽光
而已.
Nature is silent，lush and green，endlessly
procreating. Painting generally expresses the truth,
goodness, and beauty of nature and human life. Its
main aim being spiritual communication between the
artist and the appreciating beholder. It relies on
strokes and colour just in order to express the
artist's thought，transmit it to the person who
looks at the work of art，and arouse resonance in
his heart. Painting develops certainly from concrete
depiction through impression，semi-abstraction，and
abstraction to formlessness. Religious painting
usually intends to induce a reverential attitude in
the believer and becomes a means to teach people to
do good and avoid evil.
Ch'an painting makes use of the common ways of
expression and moreover transcends the realm of
religious arts as the ch'an practicioner is able to
employ form because of formlessness thus bringing
"the image of Tao" to the fore. In other words, his
painting skills are so good that he can be creative,
and at the same time he is able to elevate the level
of religious art. He has firm hold of the source of
life and is unfettered; freely painting his inner
landscape he spreads the Buddhadharma.
In its secroh for an understanding of the style
of Ch'an painting，the present paper develops along
the following lines:
1. The preface describes the peculiar features
of Ch'an painting.
2. Brush and ink：Nothing is more suitable to
bring the contents of impressionistic painting fully
into play than Chinece ink with its numberless
shades which allow powerful works to be completed at
one stroke.
3. Blanks：No difference exists between colour
and blank，neither is attached to or given up. The
felling of broadness to be found between painted and
not painted space offers ample room for the spirit
to raom.
4. Impressionistic painting：One plays with brush
and ink and catches the spirit while giving up the
appearance. The hand moves as the heart wishes, and
reflects the mind of one who treads the Ch'an path.
5. Piercing to the given potential：When a Ch'an
master instructs his student he pierces to the
latter's given potential in a frightening way. His
attitude，however，is personal，his words are
humorous and full of wonderful flavour. Transcending
the worldly and entering the holy，every sentence of
them is a true expression and does not fall down to
the level of relative truth.
6. The cultivation of the way：The oneness of
heaven and man，mind and matter is the source of
both life and the law of nature. When one realizes
the original nature of mind，truth will be found in
the commonplace. Adherents of the Ch'an School
awaken suddenly through their cultivation and gain
profound understanding of these truths.
7. Conclusion：Facing endless space，the Ch'an
practicioner avails himself of one moment and shows
others the storehouse of the true dharma eye. The
Ch'an School professes "not to rely on scriptures
and to transmit the |
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| 目次 | 一、前言 259
二、筆墨 262
三、空白 265
四、寫意 266
五、機鋒 269
六、修道 270
七、結語 275 |
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| ヒット数 | 1450 |
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| 作成日 | 1998.07.22
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| 更新日期 | 2017.08.23 |
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