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Please use this identifier to cite or link to this item: http://ir.ncue.edu.tw/ir/handle/987654321/11405

Title: 色空概念與書法的中道美學
The Concepts of Form and Emptiness and the Middle Way Aesthetics of Calligraphy
Authors: 張清泉
Contributors: 國文學系
Keywords: 書法;色空;計白當黑;中道美學;臨摹;自運
Calligraphy;Form and emptiness;The unpainted is as important as the painted;Middle Way Aesthetics;Copying the masters;Independent use
Date: 2006-12
Issue Date: 2012-06-06T01:47:33Z
Publisher: 彰化師範大學國文學系
Abstract: 佛學對書法美學的啟發與影響既深且廣,本文試從「色」與「空」兩個佛學基本概念切入並進一步導入「中道」概念。由「色法」與「空觀」的義涵中,探索其與書法相通之處,結果發現,色法當中的「顯色」、「形色」及「表色」三者,與書法的「長、短、方、圓、粗、細、明、暗」以及「屈、伸、取、捨、行、住、坐、臥」等視覺表現頗有相通之處;再者,書法從碑帖臨摹到創作自運的練習過程,與「無表色、遍計所執色、定所生色」的成因,也頗有異曲同工之妙。至於「空」的觀照與書寫心態更是密不可分,尤其是在「入帖」與「出帖」之際,若能領略「色即是空」的道理,那麼對於各家「帖相」的執著就比較能順利超越,達到「離相入神」的境界。然而,雖說「離相」卻也不是全然擺脫諸相,因此「空即是色」的概念可以提醒吾人要「計白當黑」,不要只見其一偏,如此自然能夠深入體會並把握住「中道」的圓融法則,進一步,對於「攲正、輕重、疾遲、滑澀、曲直、剛柔、明暗、濃淡、乾濕、向背、疏密、聚散」等對立與統合的法則,也都能運用自如,到此境界方可成為成功的書家。
The inspiration and influence of Buddhism on the aesthetics of calligraphy is both deep and broad. This article attempts to cut into and further lead into the "middle way" through the basic Buddhist concepts of "form" and "emptiness." Through the examination of the meanings of "material existence" and "observing emptiness," the common connections they have with calligraphy were explored, ultimately discovering that there is a considerable correlation between the three components of material existence-"color," "shape," and "form"-and the visual expressions of calligraphy-"long, short, square, round, thick, thin, bright, and dark," as well as "bending, stretching, selecting, rejecting, moving, abiding, sitting, and reclining." In addition, the practice of calligraphy, from copying the masters to independent creation, has a different approach compared to the principles of "non-form, momentary illusive form, and form produced by meditation," but subtly shares the same results. Moreover, the observation of "emptiness" and the mental state of the art of calligraphy are intimately connected, especially in "entering the stroke" and "exiting the stroke." If the meaning of "emptiness is form' is appreciated, then the attachment of painters to "appearance" will be more easily transcended, reaching the state of "turning from the appearance to the spirit." Furthermore, "turning from the appearance" does not mean totally doing way with all appearances, so the concept of "emptiness is form" can remind us that in a painting, "the unpainted is as important as the painted." There is no need to only see one facet. This is how to deeply experience and grasp the harmonious principle of the "middle way" in a natural way. To take it further, the "slanted/upright, light/heavy, fast/slow, smooth/rough, curved/straight, hard/soft, bright/dark, thick/thin, dry/wet, front/back, sparse/dense, and tight/loose" principles of opposition and agreement can be freely used, and painters who attain this realm will find success.
Relation: 國文學誌, 13: 237-256
Appears in Collections:[國文學系] 期刊論文

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