品東西―以西方媒材表現東方禪宗美學與意境之研究與實踐

Abstract

創作是藝術家的直觀感受、是心境的呈現，透過畫布上的手繪動作與視覺的觸動，讓心靈有所寄託。創作者經由對外在景象的感知，將眼前景象所觀察得到的客體事實，藉由繪畫元素的構成、組織和運作，將心中的「意」藉由眼前的「象」表達出來。而畫家作畫不只為了再現事物，而是為了託物寄情，所以畫中之物，蘊含了藝術家的情感，而此獨特之情趣，便形成了繪畫的本質。藝術思維決定了創作的深度，東方禪宗美學和意境的審美體驗，對東方的詩詞、書畫的表現影響很大；甚至是西方五O年代的抽象繪畫和無形式繪畫的藝術家也受到東方禪學影響。所以，本研究與實踐試從中國禪宗美學的演變、禪法思想的發展，探討佛學禪傳入中國轉變成美學禪的過程和禪的藝術思維，以瞭解佛學禪如何演變到美學禪。接著再從意象論在中國古典美學中的發展，分析「意象」和「意境」、「化景物為情思」的轉換。藉由前人豐富的美學論述和審美意境的探討，結合中國古典美學中的審美情思，利用禪宗美學的頓悟、空性和中國古典美學的意象、移情等理論的研究，厚植個人創作論述上的學理基礎。另外，試著從東方禪宗美學與意境對東西方藝術的影響，尤其是以西方的媒材（油畫）作為表現媒介的藝術家，最後，以自己研究與實踐的結果作一個呈現。本文分為六章：第一章緒論，內容包含論述研究的動機與目的、研究內容與範圍、研究方法與步驟。第二章東方美學禪的演變，從禪在中國的早期發展到美學禪的成形，探究禪的起緣與如何演變到美學禪。第三章「意」與「境」的流轉，藉由前人豐富的美學論述和審美意境的研究，從意象論在中國古典美學中的發展分析「意象」和「意境」、「化景物為情思」的轉換。第四章是從禪對東西方藝術藝所造成的影響，概述藝術的發展與特色。第五章是個人創作鋪陳和研究實踐，最後一章是結論。Creation is the presentation of an artist’s direct feelings and state of mind, which, by drawing on the canvas and visual sensation, gives one’s soul a sense of belongingness. Through their perception of the external scenery along with the composition, organization and application of different drawing elements, creators bring forth the objective truth in the scenery as observed before their eyes and express the “mind” in their hearts via the “image” they see. Painters do not only paint to portray objects, they do so in order to reflect their emotions via the objects. As the painted object is bestowed with artist’s own feelings, each painting’s uniqueness has become the essence of drawing. Artistic thinking determines depth of creation. Art appreciation of the aesthetics and the conception of oriental Zen have had huge impact on the presentation of oriental poetry and paintings. Even Western artists practicing abstract paintings and art in the 1950’s were influenced by oriental Zen. Therefore, through the transformation of Chinese Zen aesthetics and the development of Zen philosophy, this study and implementation practice will be attempting to discuss the process on how Buddhist Zen was introduced to China and turned into aesthetic Zen as well as the artistic thinking of Zen, as an effort to understand how Buddhist Zen is transformed to aesthetic Zen. Then from the development of image theory in Chinese classic aesthetics, “image”, “artistic conception” and the transformation of “turning scenery into emotion” will be analyzed. Via our ancestors’ rich discussions on aesthetics and examination of aesthetic conception, art appreciation in Chinese classic aesthetics is integrated. And using the studies related to the theories of the realization and emptiness of Zen aesthetics as well as the conception and emotion reflection in Chinese classic aesthetics, academic foundation of my own creation theory is firmly rooted. Moreover, this paper will also be attempting to analyze the impact that aesthetics and the conception of oriental Zen on the arts of East and West, especially those artists who used Western medium (oil painting) in their work. Lastly, I will present the results from my study and implementation. This paper is divided into six chapters: Chapter 1 – Introduction covers the discussion of the study’s motivation and goal, content and range of study, study methodology and steps. Chapter 2 – Transformation of Oriental Aesthetic Zen examines the beginning of Zen and its transformation into aesthetic Zen, from early development of Zen in China to the formation of aesthetic Zen. In Chapter 3 – Rotation of “Mind” and “State”, via our ancestors’ rich discussions on aesthetics and studies of aesthetic conception, from the development of image theory in Chinese classic aesthetics, “image”, “artistic conception” and the transformation of “turning scenery into emotion” are analyzed. Chapter 4 summarizes the development and characteristics of arts from the perspective on how Zen has influenced the arts in the East and West. Chapter 5 covers the layout of personal creative works and implementation of the study. And the final chapter is the Conclusion.